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Italy, France · 2018
1h 43m
Director Matteo Garrone
Starring Marcello Fonte, Edoardo Pesce, Nunzia Schiano, Adamo Dionisi
Genre Crime, Drama, Thriller

Marcello, a timid dog groomer who sells cocaine on the side, finds himself involved in a dangerous arrangement with Simone, a violent ex-boxer who terrorizes their entire suburban neighborhood. In an effort to reaffirm his dignity, Marcello will submit to an unexpected act of vengeance.

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What are critics saying?


The A.V. Club by A.A. Dowd

The lead performance, from the mostly unknown Fonte, is a small symphony of crumbling ingratiation: the portrait of a good man trying to cling to his principles in the face of stubborn, selfish immorality.


IndieWire by David Ehrlich

Subtle as a great dane, and less convincing than a show poodle that’s trying to pretend she’s an untamed stray, Dogman is an obvious and strained little movie.


The Hollywood Reporter by Deborah Young

Though it has far less outright violence than Gomorrah, whose oppressive criminal atmosphere it shares, Matteo Garrone's Dogman is just as intense a viewing experience, one that will have audiences gripping their armrests with its frighteningly real portrayal of a good man tempted by the devil.


The Film Stage by Giovanni Marchini Camia

Garrone’s prowess as a director is still undeniable, and as far as nasty, gripping brutality goes, Dogman certainly delivers. If you’re looking for pulpy violence, you won’t be disappointed. Just don’t expend too much thought over what it’s all supposed to mean.


Screen International by Lee Marshall

Perhaps the most impressive thing about a hugely impressive exercise in directorial control is the fact that we come away from an intensely violent film, a film where bones crunch and blood smells, touched by pathos and a strange sense of hope.


Variety by Owen Gleiberman

Fonte, it must be said, gives an expert performance as a saintly scamp who “blooms” into a butterfly of vengeance. I might have bought what he’s doing in a different film, but the one that Garrone has made strains too hard to have it both ways.


Time Out by Phil de Semlyen

Newcomer Fonte is terrific in the lead role, communicating Marcello’s meek protests with a twitchy physicality that grows slowly into a sketchy defiance.


The Telegraph by Robbie Collin

Dogman unfolds its relatively straightforward story with both thrilling style and serious moral force: it’s a sensation judged on either bark or bite.

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