Release: Friday, May 13, 2016 (limited)
Written by: Yorgos Lanthimos; Efthymis Filippou
Directed by: Yorgos Lanthimos
Outré black comedy The Lobster might be likened to a religious experience for those looking for their fix of anti-Valentine’s Day sentiments. If you look hard enough you could even find enough evidence to validate its romance label as well, but it’s so weird and so brutally dispassionate, even the most bitterly spurned, those who firmly believe they’re forever damned to loneliness, may become exhausted in their effort to keep up with its madness. And really, this dystopia is quite mad:
Single people are being persecuted; they’re getting abducted from The City — somewhere in England or Ireland if accents are anything to go by — and brought to an isolated hotel miles away where the staff insist they find a suitable romantic partner within 45 days, otherwise they will be transformed into an animal of their choosing and cast out into the woods beyond. Turns out, it’s neither a joke nor a mind game. There’s a room actually called The Transformation Room where, apparently, it all goes down. Should the unlucky sod find him or herself still single on day 45, Olivia Colman’s hotel manager advises them to partake in some activity that they won’t be able to once transformed. A one-night stand, for example, would be a waste of precious time given that animals still have the ability to fornicate.
Our best chance for understanding how the world operates in The Lobster lies in David (Colin Farrell) and his journey from being recently dumped to finding companionship in the most unlikely of places. And I know that’s a cliché, but I’m talking the epitome of unlikely places; so much so that the symmetry is almost cloying when he runs into Rachel Weisz’ Short-Sighted Woman after his ordeal at the hotel. He escapes and finds a group of stragglers abiding to their own equally radical but opposing ideals: The Loners, led somewhat ironically by Léa Seydoux and constituted by fellow hotel escapees, are vehemently against the pursuit of romance and intimacy.
Dress codes and segregative practices — you can extrapolate the latter to the two major factions we come across, as well as to the way single people and couples are treated differently in The Hotel — lay the groundwork for brutal revelations: in this world, the sum total of who we are is measured by our ability to attract a mate. Single people are lower down in the social hierarchy than couples. Sex isn’t much more than a survival strategy; it’s procreation, not love, that conquers all. The steel-blues and grays of Thimios Bakatakis’ cinematography reinforce an achingly melancholic mood.
Greek director Yorgos Lanthimos, in his fifth feature presentation, tackles the loneliness and despair of single-hood, an approach that dovetails nicely with the sacrifice of being in a relationship and he does so with a conviction as forceful as an avalanche against a lone pine tree. Strange, stilted dialogue castrates the piece of humanity, while the frankness of conversations recalls Wes Anderson . . . really, really pessimistic Wes Anderson.
One might naturally assume Lanthimos has it out for those who can’t help but remain stubbornly (or maybe just hopelessly) single, but he’s actually more critical of the societal pressure that falls upon everyone to couple up. While there are few rules governing how “loners” should meet others, The Hotel encourages bonding over physical traits, even ailments and/or disabilities, no matter how superficial those connections may seem. Ben Whishaw’s Limping Man goes to some extreme lengths to get with this girl he likes who happens to suffer from frequent nose bleeds. John C. Reilly is convinced once he meets a woman with a speech impediment like his he’s set for life. Suicide entices some to escape in a different way. All of this becomes a driving force for David to make the decisions he makes.
There’s not a lot of happiness in The Lobster. I think that much is obvious. But it bears mentioning again. The warning sirens must be heard clearly before too many enter the film with certain expectations. It’s one of the most brutal black comedies I’ve seen, capped off by one of the most memorable endings 2016 has yet produced. Presently I struggle to reconcile my enjoyment of Lanthimos’ work, when only two years ago, I was babbling incessantly about my distaste for John Michael McDonagh’s similarly pessimistic Calvary. The two share more in common than I really would like to admit.
Recommendation: The mileage one gets out of this cynical view on modern relationships I think will depend on one’s own propensity for being cynical themselves. Performances are universally strong, although this is very much a ‘message’ film. However, that message is unlikely to make an impact upon those who can’t latch on to the absurd tone, dialogue/speech patterns and occasionally shocking developments. This is quite a heavy watch but it’s also one of the most unique releases 2016 currently has on tap.
Running Time: 119 mins.
Quoted: “Why a lobster?” / “Because lobsters live for over one hundred years, are blue-blooded like aristocrats, and stay fertile all their lives. I also like the sea very much.”
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