I just saw the first New York Film Festival screening of
Yorgos Lanthimos’ feature, The Lobster, which will be shown again tomorrow at 9
pm. This makes the director 2 and 1 for me, with his latest work getting me all
tingly with provoked thoughts and emotions, much in the way that his first
feature Dogtooth did. Alps, which fell in between, made less of an impression
but now I am determined to revisit it.
The film is set in a dystopian future based around a
fantastical premise – single individuals must enter into binding relationships
with another or face dire consequences, such as being transformed into animals
– rendered in entirely un-fantastic fashion. There is no effect on the setting
making it appear futuristic, and the only hint of how humans are changed into
various creatures in the bestiary is a closed door, above which is hung a sign
that says something like ‘animal changing room.’ Along with details such as this, much of the
narrative is also left up to the imagination. Lanthimos has an intriguing way
of progressing the story, narrated from a point of view of particular poignancy
down the line, that reveals the workings of its world little by little. Right
up to the end, the viewer finds herself constructing the reality onscreen based
on a modest sprinkling of clues. It’s an act of reverence, not disregard, for
the audience.
The Lobster has a dry sense of humor that sneaks up with
such uncanny deadpan and in the midst of laying out such peculiar scenarios,
one often is not certain whether they should laugh or not. Much of this humor
stems from the abovementioned narrator drolly accounting for the absurdities
that befall the protagonist (played by Collin Farrell) as he maneuvers the
strange as he tries to maneuver the bizarre landscape of a hotel meant to
engender the coupling of its unattached inhabitants. Meanwhile Farrell’s pained
sincerity, showing a complete ineptitude at manipulation or disingenuousness
toward potential mates, is both endearing and painfully funny. The script is also filled with lines that
paint pictures of awkward hilarity in viewers’ minds, such as a rebel leader’s
explanation that they ‘even dance alone.
That’s why (we) only dance to electronic music.’
Lanthimos along with cowriter Efthymus Filippou tell a story
filled with incongruities. Great expenditures of energy can go into acts of
inconsequential pettiness, while other times characters casually commit acts of
unthinkable cruelty. Even the kitsch paradise of the first act’s hotel,
populated by naturally funny figures like a lisping fellow guest (John C.
Reilly) and robotically enthusiastic master of ceremonies (Olivia Colman, whose
filmography includes The Office, Look Around You, and Hot Fuzz), can stun
audiences with sudden moments of sadism. Those who have experienced Dogtooth
will know to beware the seemingly innocuous appearance of a toaster oven.
The subtext is filled with distrust for organizations, both
those that are established and created to fight the establishment. It also
teases apart the ridiculously complex and agonizing ritual our modern society
have made of finding mates, without pointing any fingers. The social landscape here is beset with extreme inanities, for instance compatibility is based on individuals' shared physical impairments. Yet then we are dared to say that we really have it any better off.
As for a few personal touchstones: I am
reminded of The Double, Richard Aoyade’s equally dry dystopian future yarn
filled with gallows humor galore, even if more for the dim fate of both films’
sad-sack protagonists than their visions of the future. Structurally there is
something about The Lobster that keeps bringing to mind Sion Sono. Even if
Lanthimos’ aesthetic is far more subdued, the way they allow their stories to meander
off the tracks into epic or at least seemingly epic lengths shows Lanthimos is
something of a kindred spirit to the Japanese provocateur, giving audiences a
bit of an endurance test. All the better to bring about empathy for their
protagonists’ pained positions.
There is no official release date for the film in the US but
in the UK, The Lobster will claw its way onto screens October 16th.
When it makes its way to this area, I would gladly see the film again if it
plays one of the area’s cozier repertoire theaters, such as IFC or The Alamo.
Not the least of which to see the film with one particular scene with French
dialogue subtitled, which was unintentionally left without captions according
to Lanthimos during the post screening Q & A.
Below are pictures of Lanthimos and actresses Rachel Weisz and Ariane Labed from the Q & A afer the screening.
Twitter: @mondocurry
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