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A look at the life of an Enumclaw, Washington man who died as a result of an unusual encounter with a horse.
Capitol Hill Man
(as Forest L. Fousel)
A look at the life of an Enumclaw, Washington man who died as a result of an unusual encounter with a horse.
The horse performer in this movie was a Thoroughbred mare named 'Somebodys Baby', and is a former successful racehorse. The horse in the incident portrayed was in reality an Arabian stallion.
Film suffers from treating its subject too gently and gingerly
Based on the case of a Boeing employee who died from a perforated colon while being anally penetrated by a horse in Enumclaw, a town in rural Washington state, "Zoo" (the term is short for zoophilia, the sexual love of animals) is a brave attempt to address a highly controversial and polarising issue in a dispassionate way that neither condemns nor sympathises with the people involved in bestiality. The film recreates the events leading up to the man's death and its aftermath in a way that's part documentary / part drama with re-enactments of scenes and emphasising a soft, dream-like mood with delicately muted, wafting music. Director Devor uses four narrators, talking to an unseen listener, to retell the events from the point of view of the people who knew the man, referred to in the film as "Mr Hands", and this approach thrusts (um) the viewer right into the twilight world of zoophiles: how they found each other through Internet contacts, how they organised their tryst and their reactions when the man was injured and when their secret activities became known to the outside world.

The film has the air of a noir mystery: the majority of scenes are filmed in shadow, at night or in dark colours with blue being predominant. The story unfolds slowly and elliptically and anyone who is unaware in advance as to what the film is about may be puzzled at the indirect way "Zoo" tiptoes around the subject until near half-way when a news report drops its headline in deadpan style. The pace is very steady, perhaps too steady and slow, and the film often dwells on several still camera shots which look deliberately staged as if for static display purposes. Close-ups and landscapes often look very abstract with washes of blue across a background; an orchard looks like a misty fairyland beneath a light coating of rain. The mood is even and quite blank until a scene in which police investigators viewing a DVD recording appears; the police react with horror and shock watching the act of buggery and only then do viewers feel something creepy crawl up their spines.

For all its delicacy, "Zoo" gives the impression of something much bigger than its subject matter struggling to make itself seen and heard: the zoophiles give the impression of wanting companionship, a sense of belonging, a need to share something special that gives meaning to their lives, and thinking they have found it. They seek a utopia in which everyone is equal and no-one is judged by how much money s/he earns or how educated s/he is. The places in rural Washington where many of them live look impoverished and some zoophiles may well be drifters or marginalised people barely managing to make a living and survive. (Difficult to tell as many scenes are recreations of actual events with actors playing the zoophiles.) If the film had directly addressed the need of the zoophiles for meaning, for companionship, it might have been able to gain more co-operation from the people involved; as it is, the level of co-operation it got is very restricted. The dead man's family refused to be interviewed for the film which is a pity as the wife and child might have presented him as more well-rounded than he appears in "Zoo".

The film also suffers from subjectivity and could have done with a more objective view of its subject. Interviews with psychologists and psychiatrists on zoophilia and perhaps other conditions such as lycanthropy (identifying oneself as an animal rather than as a human) might have shed light on why some people are sexually attracted to animals and to some kinds of animals in particular. The goals of the project would still be met: the issue would not be sensationalised and viewers might come away with a greater understanding of zoophilia and other bizarre philias. Instead the film can only concentrate on the horse-trainer, Jenny Edwards, who took charge of the horses after the incident became public: she admits that after having followed the case in its detail and ordering one of the horses gelded, that she's "on the edge" of understanding the zoophiles' obsession. It appears also that the director and film-crew were as much in the dark as Edwards was while making the film; even after its completion, the film-makers still were scratching their heads trying to make sense of what they'd done. Not a good portent for a film.

Yes, zoophilia is a difficult subject to talk about, let alone film, without making it look disgusting, degraded or ridiculous and pathetic. "Zoo" tries hard not to take one side or the other but with a subject like this, the attempt to be "balanced" is a tough act indeed to pull off. Some viewers will be irate that the film advocates no position at all, as if it's the film-makers' duty to tell them what they must believe. I think though that to achieve the "balance" that "Zoo" strives for, the film-makers should have pulled back from their subjects and taken a more generalised view of the issue of zoophilia; the police officers, the courts, psychologists and medical who dealt with the dead man and his friends should have been consulted for their opinions about zoophilia.
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Zoo is probably as tasteful a movie as can be, given its bestial subject. For those of you who aren't aware, there's a small population of the world who prefer the love of an animal--both mentally and physically--over the love of a human. This film stylistically recreates the life and death of one horse lover, Mr. Hands, and his pack of animal molesting friends, during one of many meetings and BBQ's in a small town near Seattle. Mr. Hands died from internal injuries, caused by the numerous and repetitive thrusting of the enlarged member of a stallion into his anus.

The film is tasteful because it's not sleazy. In this respect, it's almost worse on the audience because it humanizes these so-called animal lovers. What you'd think would be more like a shockumentary, more than anything else, really becomes a shallow dissection of a zoophile's playful mind. It's certainly not psychological, nor really in-depth; but its shallowness really makes it that much more grim.

As I watched the film, I felt like a voyeur peering into the lives of ordinary human beings doing absolutely bizarre and reprehensible things--and they just talked about it as if it were as benign and workaday as eating a bowl of cereal or taking the dog for a ride (insert pun here). Yet, much like a pedophile talking about his love for children, these zoophile's innocently and sincerely spoke about their love for animals.

Initially concerned about the content of the film, I left the theater without witnessing the exploitation or mockery of bestiality, nor did I see anything graphic or overtly sexual. I did leave the theater a little sickened, however, because I didn't loathe Mr. Hands or his friends. In fact, I somehow sympathized with their pitiful plight.
If you have ever seen the "Mr. Hands" video, you will get more out of this film. "Mr. Hands" was a short video depicting a man having anal sex with a horse. Suddenly, the horse thrusts violently into the man and ruptures his colon. He died several hours later of internal bleeding. The man was part of a Seattle-based group of zoophiles who met occasionally in a non-judgemental environment where they would discuss and indulge in their fetish for animal love. Robinson Devor's examination of this group uses audio recordings, on-camera interviews, and actors to recreate the events that led up to the death of Mr. Hands, a father of one and employee of Boeing, the aircraft manufacturer. What's so amazing about this doc is the cinematography by Sean Kirby and the brilliant score by Paul Mathew Moore. Devor uses these powerful elements to create a deliberately discomforting vibe to accompany his always interesting revelations. Although the director scoots around the precise details of the Mr. Hands incident, he packs his film with fascinating detail and even-handed debate. The film explores what zoophilia (animal love) is and avoids demonizing its subjects. Although I found the recent British TV doco, "Animal Passions" (also reviewed), a more thorough exploration of this incendiary subject with unbelievable on-camera interviews, "Zoo" is effective for the atmosphere and sense of time and place it creates. Highly recommended.
What job as a film maker is harder than to show the human side of something most would agree is so perverse as to appear unhuman? This film delves into the psyche and social constructs of a group of people and depicts it in such a way that I can honestly say I understand WHY it happened. I don't sympathize personally, but the characters were made human in a way I truly didn't think would be possible to portray. Even if you don't agree (and most won't) with the sentiment of the characters involved, and even if you find the subject matter abhorrent, you honestly could view this film and walk away with something useful from the experience.
Zoo is not a docudrama about caging animals but about having sex with them. The film, directed by Robinson Devor, comes out of an incident in 2005 in Enumclaw Washington, a rural community 45 miles southeast of Seattle in which a Boeing engineer died as a result of a perforated colon after having anal intercourse with an Arabian stallion. Known only as Mr. Hands in the film, the deceased man was a divorced father of a young son with a top level job who used his weekends as an escape from a suffocating life style. Since Washington law at the time allowed sex with animals, no one was charged with a crime.

While few object to depriving animals of their freedom in zoos or sending them to slaughterhouses to be ground up for hamburgers, the thought of men having sex with animals stirs up reservoirs of righteous indignation and the incident became fodder for the media and Internet message boards which approached it with typical scorn and ridicule. Devor uses a combination of audio interviews with actual participants and reenactments from actor stand-ins to attempt to shed some light on what actually happened. The film delivers neither judgment of the practice nor evaluation of the psychology behind it but simply raises the question whether zoophilia is simply another form of sexual orientation or whether it constitutes abuse of a being incapable of giving consent.

Shot in muted colors, Zoo has a lyrical and poetic style with a moving sound track that gives the film an air of something forbidden but also something eerily beautiful. Bringing a taboo subject out of the darkness and subjecting it to some light, the film allows us to reexamine our preconceived notions about a practice that has in fact been going on since Ancient Greece. Opening with an interview with Coyote, a coal miner from Virginia who came to Washington to meet like minded friends, the film examines the phenomenon of the "zoophile" community, a group of isolated individuals where such appetites are shared. The men gather at all night parties, talk about their love for animals, and engage in an activity they consider natural but which the rest of the world frowns upon. After he was identified as a participant, one man asks how he could be a good man yesterday and a bad man today but the question remains unanswered.

We hear the voices of some of the members of the group but only Jenny Edwards of the organization "Hope for Horses" speaks directly to the camera. While the thrust of her remarks are humane, her participation in a dramatization of the gelding of the horse involved is disturbing and is certainly done without the horses consent. Zoo neither endorses sex with animals nor condemns it but simply empathizes with the humanity of the participants who, for one reason or another, prefer anonymous sex as Richard Gere put it in Pretty Woman, "without all the emotional hassles" of relationships. By doing so, the issue is removed from the level of abstraction and the death is made heartbreakingly real.
Do you love horses? If so, then you'll probably want to check out this documentary, because it's about a bunch of guys who, just like you, love horses. They love the way you can see all those powerful muscles on display, working in tangent to create such a gracious, majestic stride. They love the affectionate nature of these beasts as they nuzzle up to you and blow satisfied gusts of hot air from their nostrils. They love to put their hands against a stallion's testicles and feel the sensual heat emanating from those glorious globes. Most of all, they love all that feral energy when there's a two foot horse-cock jack-hammering away at their insides, sending waves of sexual bliss through every part of their bod... Heeeey... Wait a second. This isn't about animal lovers. It's about perverts! Well, that should make for a much more interesting doco, right? Eh, afraid not.

First up, this movie looks and sounds amazing. It's loaded with beautifully constructed imagery and evocative music, so it's quite a feast for the senses. But that's not enough to make a good documentary. There's a lot of voice-over work from the zoophiles and others, but none of it really offers any insight into the subject matter. Much of it is just these guys talking about how they discovered and connected with other folk with similarly rare sexual proclivities. And they talk about loving horses. That doesn't interest me. Hell, I like horses; I just don't want to have sex with one. And there's never any discussion about the line where this love for animals becomes sexual. So, whilst the whole thing is nice to look at, ultimately it fails as a documentary, simply because I didn't learn a damn thing.

One issue the movie does inevitably bring up is the whole morality of the situation. Let's admit it, the idea of a guy wanting to be boned by a horse is fairly sick and disgusting. But more importantly, it's also really, really funny, so I wasn't too concerned. There's a minor reference involving a horse giving a blow job to another horse, suggesting that these guys trained horses to put on sexual performances for them. That's a touch more worrying but, once again, the mental image of a bunch of dudes having a circle-jerk to some wicked horse-on-horse action is just so damn hilarious that I'm unable to work up any moral outrage.

Fact is, the horses weren't hurt, physically or emotionally, in any way. Are the actions of these guys any more exploitative than training a horse to run real fast so we can all place bets on it? Nope, don't think so. So, if you watch this movie, then enjoy all the sumptuous visuals, but don't judge these guys too harshly because, at the end of the day, they're just harmless perves. Aren't we all?
Actors silently recreate controversial true-life events which took place in Washington State near Puget Sound when a family man died a shameful, incomprehensible death: he successfully managed to get a horse to have sex with him, resulting in internal injuries. Called zoophilia, this act of sexually bonding with an animal not of the human variety is the basis for this entire production--and yet is tiptoed around in a most facetious, irritating, and finally dreary manner. The audio interviews with actual persons connected to this story fail to flesh out the narrative, what with clueless lines such as: "These were animals I loved. I wasn't breaking any laws." True, at that time, Washington did have not laws on the books regarding bestiality (which has since been rectified), but we are never made to understand this obsession. This "classless society" of men is envisioned here as members of a secretive sect (mysteriously filmed), and what we hear on the soundtrack are the murmurings of troubled and regretful lost souls. The swooping, gliding cinematography is handsome, but only serves to make the overall effect rather drowsy. The subject matter, though wanly dissected, isn't for the faint of heart...but if you're going to do a documentary-styled take on a small circle of zoophiliacs, you might want to figure out in advance what point you want to make. Director and co-writer Robinson Devor obviously didn't want to venture too far out into unchartered cinematic waters, yet his hesitance is much more of a turn-off than his theme. *1/2 from ****
Please don't let the graphic title of this user-comment mislead you (I just couldn't resist writing this), as "Zoo" is – in fact - everything but an exploitative and perverted excuse to finally revolve a movie on the controversial topic of bestiality. As strange as it may sound, this documentary/drama is actually very sober, tasteful and not the least bit disrespectful towards people with peculiar (to put it mildly) sexual likings. Robinson Devor, the young and clearly promising young writer/director of "Zoo", based himself on real events as they occurred in Seattle in 2005. A middle aged and divorced man died there as a result of internal bleedings after – and here comes the kicker – experiencing sexual intercourse with a horse. The media promptly jumped onto this story and in practically no time the authorities unraveled a small but nevertheless fanatic network of people who regularly gathered for a weekend of beer, pizza and … animal sex. The "shocking" news spawned a giant debate and even some riots because apparently there weren't any laws against bestiality in the state of Washington at the time and all sorts of animal rights organizations launched hate-campaigns. Rather than to bluntly categorize the Zoos (short term for Zoophiles) as sick & twisted individuals as well, Devor's film digs a lot deeper into their pasts and personalities. The documentary primarily depicts these Zoos as confused and introverted people with a devoted affection for animals. Of course this doesn't justify their sexual preferences, but at least you d
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