![]() It helps with what he’s trying to do because he wants viewers to recognize bits of what they’re watching but also have room to completely pull the rug out from under them in ways that keep them unsettled. These are places that look and feel like ours but are otherwise totally separate. Call it ignorance on my part, but I’d chalk it up to the way Lanthimos is a sort of singularly bizarre filmmaker who can pick and choose his influences - I was fascinated by the Kubrickian formalities of The Lobster - but still create a movie all his own. SH: What surprised me most, talking about the movie after the screening, was how much I agreed about the Anderson or the Cronenberg comparisons without ever once thinking about that during the movie. One of my favorite parts was when Ben Whishaw’s character is describing the process by which humans are turned into animals, and Colin Farrells character says, with a completely straight face, “That makes total sense.” It didn’t take its own premise too seriously, for one, and the characters were so earnestly doltish. For example, the stilted way all the characters spoke reminded me of characters in Wes Anderson movies and in the ill-fated film adaptation of Don DeLillo’s Cosmopolis.īut where those other characters came off as pretentious or cartoony - I don’t know if it’s Lanthimos’ writing or the actors - it worked here. What impressed me the most was that it shared elements with many other films I’ve seen that have not worked for me, and they worked here. It ended up being even weirder than I anticipated, but it didn’t disappoint. Lauren Sarner: I was anticipating this movie too, mostly because the premise sounded bizarre and vaguely dystopian, and I am a sucker for both of those things when they’re done well. What did you expect going in? Was it as strangely effective as I had predicted? I’d been talking up Lanthimos and this movie in the Inverse office for awhile before seeing it. It’s through this ridiculous lens that we get a kind of absurd, hilarious, and heartbreaking commentary on societal pressures about love and monogamy. If they don’t, they’ll be turned into the animal of their choice. The rules here: Anybody who’s single for an extended period is quarantined to a place called the Hotel where they have 45 days to find someone to love. What happens next basically counts as the plot, but mostly serves as metaphors for the themes Lanthimos is tackling at any given time. That movie has a lot in common with The Lobster, mostly because it establishes a certain set of absurd sci-fi-ish rules that gradually dictate the actions of the characters. I’d latched on to Lanthimos and his particularly bizarre brand of cinema since his 2009 movie Dogtooth, which completely fascinated me. Joost de Vries, Christos V.Sean Hutchinson: I was anticipating Yorgos Lanthimos’ The Lobster more than any other movie at this year’s New York Film Festival. Reilly, Léa Seydoux, Ariane Labed, Rachel Weisz, Colin Farrell, Ben Whishaw, Angeliki Papoulia, Olivia Colman, Jessica Barden, Michael SmileyĮd Guiney, Yorgos Lanthimos, Ceci Dempsey, Lee Magiday ![]() Greece, United Kingdom, Ireland, Netherlands, France ![]() ![]() In a dystopian near future, single people are obliged to find a matching mate in 45 days or are transformed into animals and released into the woods. ![]()
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