While most movies provide structural comforts such as resolution, closure and narratives that resist interpretation, Dogtooth, is of a different breed. A winner of the Un Certain Regard Prize at Cannes in 2009, Dogtooth is about a family living within the confines of the high fences that shelter them from the outside world. There are therefore no exterior influences on the children.  Perhaps they should be called offspring, since all three siblings—if we are to exclude the one unseen sibling who everyone believes lives on the other side of the fence—are of a young adult age. This may mean that the children will soon be leaving the compound. The title, in fact, refers to moment when one can do this: when one’s dogtooth falls out, “dogtooth” being one of many made-up or mis-defined words that the father has inserted into the family’s vocabulary. It is part of his cult leader-like methods of control, which also include numerous competitions for prizes and orchestrating the sex lives of those in his home.

If the description is confusing, it is then an apt synopsis for this incredible Greek film currently playing at Cinema Village.  Nearly every scene requires the viewer to piece it together as the action of each scene is either not immediately clear or the motivation is not immediately able to be understood. Unlike most films with unusual conceits, Dogtooth dispenses with exposition creating a mysterious narrative for the audience to work through. In doing so the viewer also feels thrown into this world; the offspring are thrust into games blindfolded and we are also forced to feel our way through. An incredible must-see work from director Yorgos Lanthimos, the film is disturbing and unsettling right down to its final shot which can only be summed up as wonderfully confounding.