EO, More Than Just a Lost Donkey
The human experience is described through the eyes of a marginalized outsider, neither judgmental nor invested, just an observant donkey.

As a young couple, Nika and Salome's everyday life changes due to gravitation. Nika becomes a murderer, Salome converts to a religious sect, awaiting the end of the world. Nika's behaviour is infantile, he runs around a playground holding his newborn son Kartlos like a steering wheel, imitating the sound of an engine. Nika immediately befriends strangers; for him social barriers are non-existent. He asks questions just for the sake of conversing. Unable to follow orders, he acts his own way. Salome is childlike as well, everything unfamiliar brings her both interest and fear. Like a child, she has many stimuli and doesn't limit her endeavours. She often repeats words for pleasure and talks to herself. Nika and Salome are united by a sense of loss. Salome was orphaned by losing her parents in a car crash, Nika's father is deceased as well. Their need to be safe remains unsatisfied. Exposed people seek a strong father figure, be it Stalin, Christ or aliens.
The human experience is described through the eyes of a marginalized outsider, neither judgmental nor invested, just an observant donkey.
Set against the backdrop of the Jim Crow era, the film offers layered representation.
Emma Stone (Estella and Cruella) and Emma Thompson (the Baroness) did not come to play around in Cruella. They embodied the perfect balance of sinister and sincere. Estella went through a great hero's journey, and what a journey it was!
I was able to sit down and talk with the director of the short film Dog Lover Anne-Sophie Bine as she discussed and how she came to be in film.
In Paul Feig’s newest comedy, Last Christmas, Katarina (Emilia Clarke) didn’t give a heart, she got a heart, you see.