![]() ![]() In this way “The Lobster” becomes a story about the lies we tell ourselves and one another about relationships. But the couple’s blossoming love is brought to a head in an ambiguous conclusion highly satisfying in its cynicism. The tight narrative focus deliberately unravels as the film attempts to kindle genuine romance between David and the fellow Loner played by Rachel Weisz. Their oppositional and draconian system serves to highlight that when it comes to conformity, both ends of the spectrum are equally unsound, which feels redundant, especially considering the Loners’ lack of a real-life equivalent (militant single people are not exactly common). However, Lanthimos’ rigid control over the material is somewhat diminished once David escapes the hotel and joins the Loners. As a result, the director’s trademark deadpan humor is no longer simply droll, but genius. And with some luck, our relationships last due to our quirky similarities. We initially choose our partners by our physical attraction to them, and there seems to be the requirement of having something in common with your partner for love to exist (the couple with the nosebleeds or the couple who is short-sighted). Superficiality becomes the ultimate factor in the early success of a relationship. The characteristics of this warped world he creates are immediately familiar, even relatable. In its first half, “The Lobster” exhibits Lanthimos’ aptitude for creating ruthless microcosms through which he unleashes his piercing satire. The two acts of the film both show the main characters breaking from these societal structures, destroying them from the inside and showing their flaws. The narrative is told rather than naturally extrapolated, creating a forced relationship between film and viewer. Through narration, the viewer is constantly made aware of exactly what is happening and what each character is thinking. The film enforces the rigidity of its setting through its use of language, in which the viewer only knows as much as the narrator wants them to. This parallel community of runaways lives in a state of proud celibacy, barbarously enforced by their leader (Léa Seydoux). Aside from the zoological incarnations, the woods are also populated by the Loners, who segregate themselves from the rest of society, denouncing the idea of love completely. ![]() If they fail, they are transformed into an animal of their choosing and released into nature. Those unable to find a partner may go to a hotel where they are given 45 days to fall in love with one of the other residents. The notable difference from our society, however, is that singlehood is illegal. ![]() It is a jarring satire not too far from our present, in which finding “true love” is advocated in order to eschew loneliness. Nominated for the Academy Award for Best Original Screenplay, Yorgos Lanthimos’ latest film, “The Lobster,” chronicles the fate of David (Colin Farrell): a boring everyman who, after being left by his wife, is committed to a strange clinic by his dystopian society where he, among others, is forced to fall in love again.Ī dark commentary on how much society affects love and relationships, “The Lobster” represents existence in a world where one is mandated by law to find true love. “Lobster” is a dark commentary about the societal pressures on love. ![]()
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