I take it Gordon Ramsay may have a new favorite movie now.
An absolute flip-book of genre subversions; like seriously, the amount of stereotypes Pig is able to avoid is unorthodox. For example: I wasn’t expecting to see, in a supposed Taken-type premise, Nicky Cage to just be someone who goes full-blown psychologist-mode on MOFOs as if he were Freud Wick rather than the latter, deconstructing how socialization has restricted the familiar faces he comes across, all while on his journey to find a truffle pig that was stolen from him. Surprisingly refined in execution, natural and comfortable in its relaxing 3 chapter structure — yeah, it’s just a fancy rewording of the model act structure — Michael Sarnoski smartly does enough with not too much of a reliance on exaggerated thrills but with modest revelations.
As if the film didn’t feel any more relevant than it does today with characters who are secretly under the pressure of validation at the expectations of thousands of faces, we discover where the breaking point of burden and ambition usually is: when tragedy strikes, awakening rediscovery. Even if you were a celebrity, it seems as if the hole of being known and respected by artistic communities isn’t enough to please the self in light of how minute hobby-based groups are to all humankind; realizations such as this just keeps encouraging many to harmfully impress more people, continuously reaching an egotistical point of striving to be some sort of god. As silly as it sounds, why not have your purpose devoted to sparking a friendship with something as uncomplicated and unconditional as a pig? Why force yourself to be in the minds of so many when it’s already difficult enough to care about just one thing?
As familiar as these messages may be in the larger scheme of movies that have preached it better before, I’m still nonetheless looking forward to what Sarnoski does next. We also have a fellow “frame within a frame” simp on our hands too so welcome to the club, buddy!
“Pig” is now playing in theaters.