---
title: "Dogman"
year: 2018
kind: "film"
canonical: "https://film.one/film/dogman"
fi1m_id: "dogman"
imdb_id: "tt6768578"
tmdb_id: 483184
wikidata_id: "Q51800111"
fi1m_score: 78
critics_score: 71
critics_reviews: 20
published: "2026-10-03T00:26:04.393427+00:00"
updated: "2026-10-03T00:26:04.695790+00:00"
region: "TH"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Dogman (2018)

Directed by Matteo Garrone · 1h 43m · Crime, Drama, Thriller

## Identity

Dogman

- **Canonical:** https://film.one/film/dogman
- **Type:** Film
- **Fi1m ID:** dogman
- **IMDb ID:** tt6768578
- **TMDB ID:** 483184
- **Wikidata ID:** Q51800111
- **Same entity:** https://www.imdb.com/title/tt6768578/, https://www.themoviedb.org/movie/483184, https://www.wikidata.org/wiki/Q51800111

**Fi1m score: 78** · Critics 71 from 20 reviews

*In a sentence:* The dog groomer could do with being shown some loyalty himself

> Matteo Garrone’s *Dogman* is a grim, affecting crime drama with a tender performance from Marcello Fonte. The story leans too heavily on its bully, but the uneasy bond between its two men makes the cruelty difficult to watch.

## Synopsis

In a run-down seaside town in Campania, Marcello (Marcello Fonte) works as a dog groomer among bleak beaches and derelict buildings. His bond with the dogs reveals a gentleness that offers little protection from Simoncino (Edoardo Pesce), a frightening presence to whom he remains attached. Marcello wants to preserve that friendship, even as its demands leave him outmatched. Simoncino’s Mother (Nunzia Schiano) is among the people in their small community. Marcello has to contend with a man whose violence makes loyalty a dangerous habit, in surroundings where kindness provides no reliable defence.

## Review

Matteo Garrone’s [*Dogman*](https://film.one/film/dogman-2023) is a good, uncomfortable crime film about remaining attached to someone who frightens you. Marcello, a dog groomer in a decaying seaside town, has an affection for Simoncino that makes his life harder to bear. The film watches that attachment closely enough for us to feel its pull, even when we struggle to believe it. Its main weakness is the limited attention it gives to what keeps the bully bullying.

Marcello Fonte gives Marcello a tenderness that survives the story’s rough treatment of him. His affection for the dogs is essential: it lets us see him being capable and caring, rather than simply waiting to be hurt. We were moved by that care, because it makes his tolerance of Simoncino’s intimidation so difficult to watch. There is gentle humour in this man and his work, and Matteo Garrone is sensible enough to let us enjoy it.

Edoardo Pesce makes Simoncino frightening enough to explain why Marcello might submit to him, though the continued loyalty is harder to account for. Their physical contrast does considerable work, allowing an unequal relationship to register without much explanation. Yet Simoncino is drawn so narrowly that we begin to see what each encounter will require of him. The writing by Ugo Chiti, Massimo Gaudioso and Matteo Garrone needs more from this man than menace, however forcefully the actor supplies it.

Nicolaj Brüel’s cinematography makes the bleak beaches and derelict buildings worth looking at without making them inviting. We can understand the attraction of these images while still feeling how dispiriting it would be to live among them. Dimitri Capuani’s production design makes those battered surroundings feel inhabited, which matters when the story is so close to a fable. The place contributes to our sense of Marcello having few comfortable alternatives, although the repeated bleakness can become a little insistent.

Marco Spoletini’s editing keeps the pressure on the central relationship, and the pared-down dialogue gives the actors room to carry it. That concentration suits a story in which a small shift in behaviour can matter more than a lengthy explanation. Michele Braga’s music helps sustain the discomfort, but the tension between the two performances remains the stronger draw. At 103 minutes, the film has room for those exchanges without requiring a sprawling account of the town around them.

The comparison between the dogs and the men can also become heavy-handed. Marcello’s ease with animals and his helplessness around Simoncino make the point clearly enough without our needing to keep returning to it. As a crime fable, *Dogman* sometimes presses that comparison too hard, and the people risk becoming illustrations of a lesson already understood. Marcello Fonte keeps bringing us back to an individual whose affection and poor judgement can occupy the same face.

This is a stronger choice for an evening of uneasy character drama than for anyone seeking the pleasures of a brisk thriller. Its compassion is what makes the violence difficult to sit with, and the humour offers only limited relief. There is enough human interest here to justify the discomfort, even when the story makes its point too firmly. Save it for an evening when neither of you needs cheering up.

*Fi1m score 78, published 3 October 2026.*

## What the critics say

Most critics find Dogman a gripping, bleak crime fable, with praise centred on Marcello Fonte’s tender, nuanced performance as a downtrodden dog groomer. His pairing with Edoardo Pesce gives the film much of its tension, drawing on their physical contrast and uneasy exchanges. The reviews also admire Matteo Garrone’s depiction of a decaying seaside town, where the cinematography finds beauty without softening the desolation. Several welcome the compassion and gentle humour that interrupt the brutality.

The spread is wide, with even favourable reviews questioning the story’s credibility or finding its allegory heavy-handed. Fonte’s performance earns praise across the divide, but the characterisation and plotting prove more contentious. Variety finds the central character’s development emotionally unconvincing, despite admiring Fonte’s work. Eye for Film likewise praises his nuance but objects to his character’s implausible loyalty and the one-note portrayal of his intimidating companion; elsewhere, reservations concern predictability, thin character development and laboured metaphor.

## Straight answers

**Is Dogman worth watching?**

*Dogman* is worth watching for its tender central performance and uneasy character drama, and we score it 78 out of 100. We find Marcello Fonte’s care for the dogs affecting enough to make the intimidation he tolerates painful to watch, though the bully is thinly drawn. It suits an appetite for grim drama rather than a brisk thriller.

**How long is Dogman, and what is it rated?**

*Dogman* runs 1h 43m. It is a crime and drama film.

**Where can I watch Dogman in Thailand?**

*Dogman* is not on any streaming or rental service in Thailand at the moment. It is available in 23 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is Dogman, and is it suitable for children?**

*Dogman* has a UK 15 certificate and contains violence and frightening intimidation, making it unsuitable for children under 15. We find the cruelty difficult to watch because the film makes us care about the gentle man enduring it. Squeamish viewers should approach with caution, and the occasional gentle humour offers only limited relief.

**How does Dogman compare to Bicycle Thieves?**

*Dogman* is the harsher companion to [*Bicycle Thieves*](https://film.one/film/bicycle-thieves), which earns our warmer recommendation for its moving father-son performances. Both concern precarious livelihoods and ordinary kindness under pressure, but *Dogman* concentrates on a frightening, unequal friendship and sometimes labours its point. We favour *Bicycle Thieves* for moving human drama, and *Dogman* for an evening of sustained unease.

**What should I watch after Dogman?**

After *Dogman*, try [*Bicycle Thieves*](https://film.one/film/bicycle-thieves) (1948, Fi1m 93): Another precarious livelihood, with ordinary kindness under pressure from poverty. Then [*The Servant*](https://film.one/film/the-servant) (1963, Fi1m 89): For another close study of dependency, resentment and unequal power; and [*A Prophet*](https://film.one/film/a-prophet) (2009, Fi1m 86): A harsher criminal education, with dependence and intimidation shaping every choice.

### Reviews we read (20)

- **The Guardian**, Peter Bradshaw (5/5): Bradshaw finds the film a compelling, harrowing portrait of criminal dependency, delivered with comic flair. He particularly praises its tragicomic scenes and Garrone’s vivid depiction of Marcello’s bond with the dogs. [Read](https://www.theguardian.com/film/2018/may/17/dogman-review-matteo-garrone)
- **The Hollywood Reporter**, Deborah Young (90/100, inferred): The critic praises the film as an intensely gripping culmination of Matteo Garrone’s dark themes. She singles out its superb lead performances and evocative cinematography for praise. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/dogman-1112738/)
- **Los Angeles Times**, Robert Abele (80/100, inferred): The critic finds the crime fable potent and affecting, though parts of its story strain credibility. He singles out Marcello Fonte’s performance and the vivid portrayal of the desolate seaside town for praise. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-dogman-review-20190411-story.html)
- **Radio Times**, Trevor Johnston (4/5): Johnston’s four-star rating indicates a favorable verdict. He frames the film as a blend of social exposé and modern fable. [Read](https://www.radiotimes.com/movie-guide/b-l3kfpa/dogman/)
- **Time Out**, Phil de Semlyen (4/5): The critic calls the film a well-crafted gem. They praise its intimate parable of a downtrodden dog groomer. [Read](https://www.timeout.com/movies/dogman)
- **Total Film**, Jamie Graham (75/100, inferred): Graham views the film as a compassionate, compelling crime story whose descent into ruin feels both authentic and inexorable. He especially praises its compassion for its flawed protagonist and its beauty amid bleak beaches and derelict buildings. [Read](https://www.gamesradar.com/cannes-2018-gomorrah-director-guns-for-palme-dor-with-another-ace-crime-movie/)
- **Vulture**, David Edelstein (75/100, inferred): Edelstein finds the film ugly but gripping, and says it haunts the viewer long after it ends. He especially praises Garrone’s portrayal of Marcello’s fragile bond with the frightening Simoncino. [Read](https://www.vulture.com/2019/04/movie-review-dogman-2019.html)
- **Empire**, David Parkinson (70/100, inferred): Parkinson finds the film a savagely compelling study of trust, honour and folly, despite doubts about Marcello’s transformation. He singles out the grotesque double act between Marcello Fonte and Edoardo Pesce for praise. [Read](https://www.empireonline.com/movies/reviews/dogman-review/)
- **Sight and Sound**, John Bleasdale (70/100, inferred): Bleasdale finds the film bleak but ultimately humane, with revenge shown as tragedy rather than triumph. He especially praises Marcello Fonte’s superb performance as a gentle man outmatched by violence and indifference. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/dogman-first-look-matteo-garrones-film-grits-its-teeth-face-lifes-savagings)
- **The AV Club**, A.A. Dowd (B-): Dowd finds Dogman familiar and predictable, though effective in its cold craftsmanship. He especially praises Marcello Fonte’s richly shaded, heartbreaking lead performance. [Read](https://www.avclub.com/a-masterful-breakthrough-performance-provides-the-predi-1834013438)
- **The New Yorker**, Anthony Lane (70/100, inferred): Lane regards “Dogman” as a handsome return to form for Garrone, though its focus feels narrower than his earlier work. He praises the director’s ability to find beauty and grace amid the decay of Castel Volturno, while faulting the film’s all-white cast. [Read](https://www.newyorker.com/magazine/2019/04/22/siege-mentality-in-stockholm)
- **Screen Daily**, Lee Marshall (64/100, inferred): The accessible page does not reveal the critic’s verdict. Its standfirst identifies the film’s setting as a run-down seaside town in Campania, but offers no specific praise or complaint. [Read](https://www.screendaily.com/reviews/dogman-cannes-review/5129457.article)
- **Little White Lies**, Adam Woodward (4/3/2): The review finds the film dour and comparatively minor, despite a strong central performance. It praises Marcello Fonte’s work, while faulting the film’s thin character development and tedious metaphor. [Read](https://lwlies.com/reviews/dogman)
- **Slant Magazine**, Jesse Cataldo (2/4): The review finds the film’s allegory and structure inert, despite its coherent symbolic thread. It praises the vivid sense of place and grotesque atmosphere, while noting that Marcello Fonte’s compelling performance is underserved by the story. [Read](https://www.slantmagazine.com/film/dogman-review-matteo-garrone/)
- **Variety**, Owen Gleiberman (35/100, inferred): Gleiberman finds the film’s transformation of a timid man into a figure of vengeance emotionally unconvincing. He praises Marcello Fonte’s performance, but says the story strains too hard to reconcile innocence with violence. [Read](https://variety.com/2018/film/reviews/dogman-review-matteo-garrone-1202815718/)
- **/Film**, Marshall Shaffer (8.5 out of 10): Shaffer gives the film a strong, devastating verdict on its moral allegory. He especially praises Marcello Fonte’s tender, deeply human performance. [Read](https://www.slashfilm.com/561010/dogman-review-tiff/)
- **The Skinny**, Joseph Walsh (★★★★): The review calls Dogman tense, tragic and brutal, and considers it Garrone on top form. It praises the convincing realism of the performances and the film’s setting, while noting that its allegory can feel heavy-handed. [Read](https://www.theskinny.co.uk/festivals/international-festivals/cannes/dogman)
- **HeyUGuys** (75/100, inferred): The critic finds the film compelling, balancing its grim story with gentle humour. The performances by Marcello Fonte and Edoardo Pesce are singled out for their warmth and menace. [Read](https://www.heyuguys.com/dogman-review-cannes-2018/)
- **The Wrap** (75/100, inferred): The critic finds the film a tight, muscular drama about a good man’s descent into savagery. They praise how the pared-down dialogue lets the physical contrast and tense interactions between the two men carry the story. [Read](https://www.thewrap.com/dogman-film-review-good-man-goes-bad-muscular-italian-drama/)
- **Eye for Film**, Amber Wilkinson (40/100, inferred): Wilkinson finds the film engaging but ultimately unconvincing, with its tragedy feeling predictable. She praises Marcello Fonte’s nuanced performance, while faulting Simone’s one-note characterization and Marcello’s implausible loyalty. [Read](https://www.eyeforfilm.co.uk/review/dogman-2018-film-review-by-amber-wilkinson)

## Details

- **Director:** Matteo Garrone
- **Director:** Matteo Garrone
- **Screenplay:** Ugo Chiti, Matteo Garrone, Massimo Gaudioso
- **Story:** Ugo Chiti, Matteo Garrone, Massimo Gaudioso
- **Cinematography:** Nicolaj Brüel
- **Editor:** Marco Spoletini
- **Music:** Michele Braga
- **Production design:** Dimitri Capuani
- **Costume design:** Massimo Cantini Parrini
- **Producer:** Matteo Garrone, Jean Labadie, Paolo Del Brocco
- **Cast:** Marcello Fonte as Marcello; Edoardo Pesce as Simoncino; Nunzia Schiano as Simoncino's Mother; Adamo Dionisi as Franco; Francesco Acquaroli as Francesco, Video Lottery Owner; Alida Baldari Calabria as Alida; Gianluca Gobbi as Restaurant Owner; Laura Pizzirani as Alida's Mother
- **Runtime:** 1h 43m
- **First release (France):** 16 May 2018
- **Genres:** Crime, Drama, Thriller
- **Also in:** [Palme d'Or winners](https://film.one/collections/palme-dor.md) (Nominee, 2018)
- **Box office:** $5 million
- **Trailer:** https://www.youtube.com/watch?v=ewh0lBcEb2U

## Where to watch in Thailand

Not streaming, renting or buying in Thailand at the last check.

Also available in: AE, AT, AU, BE, CA, CH, CZ, DE, DK, ES, FI, FR, GB, IE, IT, JP, MX, NL, NO, NZ, PL, SE, US. Add `?region=XX` to this URL for another country.

## Awards

- David di Donatello for Best Director 2019: David di Donatello for Best Director (won)
- David di Donatello for Best Film 2019: David di Donatello for Best Film (won)
- European Film Award – People's Choice Award for Best European Film 2019: European Film Award – People's Choice Award for Best European Film (nominated)
- International Submission to the Academy Awards 2019: International Submission to the Academy Awards (nominated)
- Cannes Film Festival 2018: Palme d'Or (nominated)
- European Film Award for Best Actor 2018: European Film Award for Best Actor (won)
- European Film Award for Best Costume Designer 2018: European Film Award for Best Costume Designer (won)
- European Film Award for Best Director 2018: European Film Award for Best Director (nominated)
- European Film Award for Best Film 2018: European Film Award for Best Film (nominated)
- European Film Award for Best Hair and Makeup Artist 2018: European Film Award for Best Hair and Makeup Artist (won)
- European Film Award for Best Screenwriter 2018: European Film Award for Best Screenwriter (nominated)

## If you liked this

- *Bicycle Thieves* (1948), Fi1m 93: Another precarious livelihood, with ordinary kindness under pressure from poverty. — [Fi1m page](https://film.one/film/bicycle-thieves.md)
- *The Servant* (1963), Fi1m 89: For another close study of dependency, resentment and unequal power. — [Fi1m page](https://film.one/film/the-servant.md)
- *A Prophet* (2009), Fi1m 86: A harsher criminal education, with dependence and intimidation shaping every choice. — [Fi1m page](https://film.one/film/a-prophet.md)
- *Tyrannosaur* (2011), Fi1m 81: For tenderness surviving beside violence, without any promise of easy comfort. — [Fi1m page](https://film.one/film/tyrannosaur.md)
- *Shoplifters* (2018), Fi1m 89: Another compassionate look at people whose affection outlasts their questionable decisions. — [Fi1m page](https://film.one/film/shoplifters.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/dogman