How should “Dobermann” be best approached? At face value or otherwise?

“The world of “Dobermann” is closer to that of cartoons than neo-realist film. As such, it can be excessive and totally unbound. It’s a mocking and irreverent film, a fairly comic one in which emotions nevertheless have their place. I like to think that the audience feels something when one of characters dies. You obviously cannot take “Dobermann” at face value. How could it be otherwise? I have never imagined “Dobermann” from any other angle. I never told myself: “People could take this situation badly and misinterpret it. I’d better censor myself to avoid offending anyone.” No thank you! I don’t ask that kind of question. I hope that the audience will read between the lines of “Dobermann”. Generally, literal violence doesn’t interest me. I need the distance imposed by a style that is close to that of cartoons even though I give it less importance at one point. From the very visual excesses of cartoons, I move towards a more psychological violence, a violence that is less likely to induce smiles and that is more aggressive than comic.”

Press-kit, extract from the interview with Jan Kounen