How âEOâ and âThe Banshees of Inisherinâ made 2023 the year of the donkey
âI love donkeys,â enthuses EO director Jerzy Skolimowski. âIâd have one as a pet, if it wasnât for their size.â The Polish filmmaker, a veteran of such â70s cult cuts as Deep End and The Shout, would know: heâs just spent two years working with six of them to bring his Oscar-nominated masterpiece to the screen. Set in Poland and Italy, EO shows the world through a donkeyâs eyes, inviting us to share its joys and suffering in a way thatâs guaranteed to make you a donkey convert.Â
A key touchstone for the film is Robert Bressonâs 1966 donkey classic Au Hasard Balthazar. Skolimowski saw it at the cinema when it came out and it stuck with him â he remembers weeping at the travails of its little donkey hero. But transplanting its themes to modern-day Europe made for a singular filming experience, even for a director who lives in the Polish forest and loves to connect with nature (ask him about feeding the local deer). Its unique, four-hoofed stars saw to that.
Donkeys may not be unionised or carry Equity cards, but their working conditions are still enshrined in law. The working day is capped at eight hours, and while they wonât retreat to their trailers like high-maintenance thespians, directorial notes need to be delivered quietly â and, ideally, with a carrot. And even that isnât always enough to get them to hit their marks.
Donkeys are highly intelligent, sensitive animals but they are stubborn
âTheyâre highly intelligent, sensitive animals but they are stubborn,â says Skolimo