It’s been nearly a week since I saw The Lobster, and to be completely honest I’m still not sure how I feel about it.
On the one hand, it is masterfully made. Writer/director Yorgos Lanthimos has a keen visual sense and directs his screenplay, co-written by Efthymis Filippou, with understated confidence. It’s also very funny with consistent laugh-out-loud moments and thoughtful insights on dating and love.
On the other hand, it is a deeply unsettling viewing experience. Its comedy is pitch black, which some may find off-putting, and understandably so. There were moments where I wasn’t sure whether I wanted to laugh or cry. Or both. There were also moments when I could hardly bear to look at the screen.
But in the days since my viewing, The Lobster has stayed with me. It has an undeniable power, and that alone deserves merit. Film fans owe it to themselves to see this remarkable piece of work. General audiences might want to brace themselves for a challenging experience, or just steer clear in general.
In a not-too-distant future with a consistently overcast sky, being single is outlawed. Those without a significant other are taken to a Hotel, where they are instructed to find a mate within 45-days. If their attempts are unsuccessful, they will be turned into an animal of their choosing and sent off to live in the wild.
After his wife left him for another man, David (Colin Farrell) checks into the Hotel with his brother, who failed to find a mate and was turned into a dog. If he fails to find a partner, he desires to be turned into a lobster. When the Hotel manager (the wonderful Olivia Colman) asks him why, he explains they have long life-spans and remain fertile throughout their lives. “I also like the sea very much.”
Farrell is superb here, delivering a performance both subtle and sympathetic, despite his persistent dead-eyed expression. Even when we’re not quite sure what’s going on (the screenplay does an excellent job of withholding information until exactly the right moment), Farrell keeps us involved and invested. The supporting cast, featuring the likes of Ben Whisaw, John C. Reilly, Rachel Weisz and Léa Seydoux, is equally effective.
I won’t spoil specifics, but about halfway through its runtime The Lobster switches gears, abandoning the story of its first half for something new and almost entirely unrelated. It’s not wholly successful in this sudden switch; many ideas set up in the beginning are abandoned for new ones. And while the film’s 2nd half kept me involved despite the introduction of a brand new story and characters, the whole thing can’t help feeling somewhat disjointed. Though I applaud Lanthimos resistance to answering every question presented, allowing the audience to draw their own conclusions, I felt the film might have benefitted from a bit more insight into this world and the reasoning behind turning people into animals.
Another thing I had difficulty with was that The Lobster seems to be an attempt to comment on the concept of relationships, but it’s never clear what it’s trying to say. Are we over-reliant on them? Are we taking them for granted? Is love a positive thing or is it only a byproduct of humanity’s need to procreate? Lanthimos presents plenty of intriguing thoughts, but never fleshes them out in a fully satisfying way.
Perhaps The Lobster merits repeat viewings to unlock all its secrets, but it can’t help feeling slightly pretentious in its purposeful efforts to be bizarre and elusive. Chances are you will either love it or hate it. Despite this, it is an utterly fascinating viewing experience, one which I wholeheartedly recommend to anyone who appreciates cinema as an artform.
FINAL RATING: 3.5/5
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