Animus Animalis
- sombre
- slow-burn
- inventive
- intimate
Human beings are the kings of all animals, at least if you ask us humans. Our vanity is given something to mirror itself in, but does not escape without a scratch or two in this documentary, which observes a taxidermist, a deer farmer and a museum curator at work. Three jobs that have one thing in common: turning animals into aesthetic objects, alive as well as dead. When the work is done properly, it is impossible to tell the difference. Dead pets are mummified. At the zoological museum, the animals' glassy eyes stare back at us from the showcases. Even a plastic alligator has its natural place in the human master plan.
Our read · Animus Animalis (2018) reads as a sombre, slow-burn, inventive documentary · arthouse entry — gentle in intensity, intimate in scope, measured in temperature, ambivalent in outlook, with a strong directorial signature. Hand-scored on twelve axes of taste — mood, pacing, weirdness, hope, stakes, humour, reality, density, warmth, auteur, intensity, and era — with a derived palette drawn from its dominant cinematography.
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The shape of Animus Animalis
The reading.
Each axis is hand-scored — not derived from votes or genre averages. The marker shows where this film sits; the gradient fill uses the film's own cinematography palette.
Eight films that read most like this one.
Geometric closeness in the twelve-axis space — pure DNA distance, not “people also liked.” Distance numbers are listed under each title for sceners who like to know the maths.
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