From Jeff Nelson

Thomas Cailley’s The Animal Kingdom reflects the social hierarchy and its exclusion of all those deemed to be different. In addition, its commentary also lends to the outbreak of disease, particularly timely amid a coronavirus (COVID-19) world. There are a lot of good ideas floating around in The Animal Kingdom, but the execution offers mixed results.

François Marindaze (Romain Duris) and his teen son, Émile (Paul Kircher), struggle to keep their family together in a world where humans started to mysteriously turn into other animal species. His wife was among those who transformed into a creature, while Émile attempts to hide this information from his peers. However, he begins to exhibit symptoms himself, which threaten to tear his entire world apart.

The volatile father-son relationship is the heart of Cailley’s film, opening with a relatable dynamic in an unfamiliar world of human-animal hybrid creatures. Émile is an outsider in multiple regards, as he attempts to make friends at a new school, while his father tries to set their lives on a different trajectory. There are some tender father-son moments, particularly towards the film’s conclusion, but they’re fragmented across several other narrative components, watering down their emotional weight.

We’re dropped into the story after society’s initial panic, where some countries even created legislation protecting the creatures. However, science is still lagging in response and the situation is turning political, questioning whether these creatures can still be considered human or not. It touches on several topics, ranging from the COVID-19 pandemic to puberty, particularly in its place within Émile’s self-discovery. The scattershot commentary lends to an overall unfocused film, but The Animal Kingdom certainly stirs intrigue.

Kircher is a talented newcomer, delivering the role of Émile with sincerity. He lands the character’s insecurities, as well as his conflicted feelings toward the creatures and his father’s reaction to what his mother has become. Duris turns in a sufficient performance as François, but it’s Émile’s connection with a bird creature named Fix (Tom Mercier) that stands out. Both performers sell the emotion that the screenplay doesn’t entirely strive for. Unfortunately, Adèle Exarchopoulos is entirely wasted in the role of a police officer.

Cailley’s latest feature film looks quite remarkable, leveraging top-notch visual effects. The practical creature makeup is exceptional, accomplishing the task of making these human-animal hybrids look and feel like they belong in this setting. This fantastical story runs the risk of coming off as cheap and cheesy, but the finished product is polished and striking.

The Animal Kingdom is alluring and touching in parts, largely thanks to Kircher’s dazzling performance. The film has a whole lot of ideas, but many of them aren’t resolved in a particularly satisfying way. All of the elements of a sci-fi stunner are there, although it has too much on its mind to give much-needed depth to any single direction. Nevertheless, there’s a lot to enjoy here, including its compelling world that feels rich beyond the scope of its many plot threads.

Rating: 3/5

The Animal Kingdom hits theaters and VOD on March 15th, 2024.

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