THE LOBSTER (2015)
Written and directed by Yorgos Lanthimos | 118 min.
With only 45 days, those christened as ‘loners’ must find a compatible partner or otherwise face an unusual penalty: a transformation into an animal which they so desire. Such is the premise of The Lobster, set in a bizarre society in which one’s single status is seemingly deemed as a contradiction to the law.
Colin Farrell’s rigid character David takes up residency in The Hotel where he is given a final opportunity to acquire a mate, meeting a quirky assortment of loners in alike circumstances throughout his hotel stay and in his escape to The Woods. Hotel dwellers are subject to earn additional days before animal transformation through expeditions in which they can attempt to tranquillise and submit loners who are hidden in The Woods, loners who are determined to endure their humanity.
The characterisation of David presents an individual who, to simply say, radiates a high degree of awkwardness. One wonders how he could ever find an adequate partner. As one can guess, his creature of choice should he fail his task is indeed a lobster: long-lived, fertile and oceanic, all of which are appealing qualities to David. Yet, he finds a connection with the Short Sighted Woman (Rachel Weisz) in The Woods, where both are banded in an all-loner group governed by the Loner Leader (Léa Seydoux). Here, their attraction is challenged as the Loner Leader emphasises the commitment of all to remain loners, and the grotesque consequences of intimacy within the group.
While the relationship between David and the Short Sighted Woman are evidently the integral focus of the film as they navigate their relationship, the remainder of the characters seen throughout The Lobster have a one-dimensional feel. They all seem to hark the same monotonous voices and personalities. The purpose of the characters’ uniformity is unclear, but may possibly allude to the restraint observed in the story’s society, or perhaps to make them seem as undesirable loners — or it may simply be the director’s choice of character aesthetic.
The recurring arrangement of sharp, suspenseful, and one can even say comical ensemble of strings orchestrates the dark, comedic tone of the film. Paired with the stern narration of Weisz’s Short Sighted Woman and her oft-times humorous dialogue and expression further accentuates this tone — a very compelling one to say the least.
An interesting focal point to discuss in the film is its symbolism of blood. Nosebleeds, the taking of lives and horrific repercussions from disobeying rules are ways of visualising such a symbol throughout the film’s entirety, illustrating the sacrifices that are made in relationships.
The Lobster is an unmistakably original film that overlaps with absurdity. Some may understandably grow an aversion to the film’s outlandish flavours, but The Lobster’s unconventionality and wholly unique concepts may certainly be of satisfaction to the adventurous moviegoer’s palette.
