Through the lens of a journey that seems simple yet is profoundly symbolic, the film invites us to reflect on what it means to be alive in a world where social structures appear to oppress as much as they sustain. It is a work that delves into the darkest corners of human existence, bringing to the screen a visceral meditation on the meaning of survival, freedom, and alienation.

The story is set in 2008, in a remote town on the edge of the Gobi Desert: a barren, grey-ochre landscape where sand is gradually devouring the fields, and trucks often veer off the road, chased by packs of stray dogs. On the eve of the Beijing Olympics, Lang is released from prison after serving several years for manslaughter. Returning to his homeland, he reunites with his uncle Yao (played by director Jia Zhangke), who tries to support him in reintegrating into society.

In an effort to address the stray dog crisis, local authorities, following national directives, organize teams tasked with capturing them. Lang, though reluctant, agrees to work with one such group. During his assignment, he encounters a battered black greyhound that the locals fear is rabid. When he finally captures it, instead of turning it over to the authorities, he chooses to care for it personally.

The encounter between Lang and the greyhound marks a turning point in their lives: two solitary beings, scarred by life, find solace in each other, building a bond of trust and solidarity.

The protagonist, a solitary man who traverses desolate landscapes on his motorcycle, seems to symbolize the modern individual, alienated from both nature and other humans. A man trapped between the desire for freedom and the necessity of conforming to the rules of the world.

The presence of the black dog, enigmatic and elusive, is the symbolic heart of the film. In many philosophical and existential traditions, the black dog represents melancholy or depression, but in Guan Hu’s context, it seems to take on an even broader meaning. It is a reminder of the most primal and animalistic part of human nature, the one that survives against all odds, walking in shadows but never entirely disappearing. The black dog is not just a silent companion; it is a reflection of the protagonist, a reminder of the relentless struggle between instinct and reason, between desire and resignation.

The landscape, almost always desert-like or industrial, amplifies the sense of isolation and emptiness. There are no escape routes; every mile traveled seems to lead to another form of desolation. This setting compels the viewer to confront existential emptiness. The idea of "the journey" as a metaphor for the human condition is deconstructed here: it is not a path toward a goal but a perpetual movement that reveals the absurdity of existence itself.

A western where dogs take the place of horses, alongside other circus animals like tigers and snakes, attractions of the locale. All of this amidst the violent threats Lang must face, defending himself as best he can: his life choices remain incomprehensible to many.

"Black Dog" by Guan Hu is an existential journey into the heart of a fragmented society: it intertwines themes of individual survival, state propaganda, and the obsessive pursuit of profit, creating a tableau that reflects the deep tensions between the individual and the collective structures that shape their life.

This setting is no coincidence: it symbolizes forced progress, the race toward industrialization and modernization fervently pushed by the government in preparation for the Olympics. The imposing infrastructures and grandiose projects represent not only development but also the crushing weight of propaganda. The film invites us to reflect on how a nation’s official narrative can mask the inner void and disconnection of its individuals.

The black dog, always present, is Lang’s only authentic connection, a symbol of silent resistance against a system that attempts to stifle individuality.

The narrative, slow and deliberate, rejects traditional cinematic structures, reflecting the chaos and fragmentation of contemporary life. There is no clear resolution; there is no catharsis. This absence is not a lack but a deliberate act of resistance against the human need for imposed meaning. Like the protagonist, we too are left to wander, searching for answers in a world that offers only questions.

The Olympics, emblematic of international prestige, become a metaphor for collective deceit: an event that promises glory and unity but, in the film’s vision, highlights the gap between expectations and reality.

Between death and rebirth, "Black Dog" is a work that transcends the boundaries of traditional cinema to become a philosophical reflection in progress on the mystery of existence. Like the black dog that walks, reacts, defends, and resists, the film brings us back to the act of persistence and the ceaseless movement in which the ultimate meaning of our condition resides.

25-Dec-2024 by Beatrice