Wolf

It’s not exactly a howler, but the artsy drama Wolf amounts to little more than a curiosity piece showing that all mammals aren’t created equal.

As confused as its protagonist, the film earnestly explores a rare condition known as species dysphoria, in which humans believe they are animals. Rather than a campy werewolf movie, the resulting offbeat tale of self-discovery is deliberately paced and introspective, admirably demonstrating serious conviction toward a silly concept ultimately without much bite.

“You deserve a normal life,” his mother tells Jacob (George MacKay) upon leaving him at an institution meant to “cure” his lapses into wolf-like behavior, which includes prowling on all fours during the night.

His fellow patients have similar struggles subconsciously imitating other animals, from a squirrel to a horse to a parrot. Their daily interactions with a therapist (Eileen Walsh) are more friendly than sessions with the head doctor (Paddy Considine), whose rehabilitation methods are often cruel and condescending — not to mention flagrantly ineffective.

Jacob seems better equipped to suppress his urges than most until he becomes enamored by a longtime patient named Wildcat (Lily-Rose Depp), fueling occasional outbursts. Eventually the therapy starts to have the opposite effect on Jacob as he’s torn between man and beast. Trying to escape the psychological torture chamber becomes an internalized case of survival of the fittest.

The screenplay by director Nathalie Biancheri (Nocturnal) doesn’t exploit its characters’ afflictions for cheap laughs, yet also lacks a deeper connection with its contrived central relationship. The film stumbles in its effort to position them as misunderstood or maligned in order to examine identity and intolerance.

MacKay (1917) offers a fully committed portrayal that balances sincerity and vulnerability, and his ability to replicate the movements and mannerisms of a wolf in human form is so remarkable it’s unsettling.

He conveys Jacob’s inner turmoil despite his muted emotions. Yet no matter how many times he howls at the moon, the film is less convincing as a raw and visceral exploration of animal instincts.

Amid a visually striking mix of static long shots with intimate close-ups, Wolf could easily be dismissed as a freak show. But by the end, it just becomes a zoo.

Rated R, 98 minutes.