Inspired by the palpable tension in the novels of Russian author Fyodor Dostoyevsky, ‘Wolves at the Table’ grows ever-darker, scene after scene, as it confronts the gruesome truth about Katerina Bagatova. Filmed without the use of animation-assist software, the character movements are jittery, strangely creepy, and somehow less safe. The imperfection of technique lays bare an uncomfortable truth: The dolls are REAL. Their world exists. With weight, almost with souls, they are imbued with will and vice and cruelty and choice by an external force: Malevolent or kind left for us to determine. And like the ill-fated anti-heroes of Dostoyevsky’s novels, it is grotesque circumstance that forces Katerina’s hand, to strike. Undone by her own unspeakable indecency, she ultimately seals her fate and doom.