Jessica Kiang The Greek hotel where Sofia Exarchou’s jittery, melancholic “Animal” takes place doesn’t seem to be anyone’s first-choice holiday destination.
The beach is gritty rather than golden. The skies are low and gray. The guests are older couples and noisy families — pragmatic souls seeking a couple of weeks of undemanding pleasure on a budget that doesn’t stretch to luxury.
Setting foot inside the Hotel Mirage, a “White Lotus” guest would turn on her heel so abruptly she’d be in danger of breaking a Manolo.
But so much for the guests, who come and go. The unromanced gaze of Monika Lenczewska’s mobile, handheld camera is firmly fixed on the seasonal entertainment staff.
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