Lobster, The (2015)
★★★★ / ★★★★
Viewers with a palate for the bizarre are certain to embrace “The Lobster,” intelligently written by Yorgos Lanthimos and Efthymis Filippou, and yet the piece is not simply for those with an acquired taste because the roots of the humor, curiosities, ironies, and social commentaries are near universal. For instance, all of us have been in a situation where we find ourselves being the only single person in a group of couples, at times even being the subject of conversation (and judgment) as to why we do not yet have a special someone and simply settle down. The picture is packed with a wicked sense of absurdist and satirical humor.
Our protagonist is named David (Colin Farrell), a man informed by his wife that she is leaving him because she has fallen in love with someone else. According to their society, unpaired adults must go to a hotel where they must find a mate within forty-five days. Failure to do so would compel those in charge to turn those without a partner into an animal of his or her choice. A person can gain more days to stay in the hotel by participating in The Hunt—which involves going into the woods, hunting, and tranquilizing escaped single people so they can be turned into animals for their failure to abide by societal rules.
Part of the humor is the carefully modulated performances. It is interesting that just about all characters speak in a robotic tone and feeling and yet none of them are ever boring. On the contrary, each performer’s interpretation of a schizoid-like personality fascinates especially during longer takes where every word uttered, limb moved, and blinking of the eyes must be well-timed or the gamble falls into itself. Or worse—turns into a parody of itself. Notice that every person David meets does not have a name. They are merely referred to as “Nosebleed Woman,” “Loner Leader,” “Hotel Manager,” “Lisping Man,” and the like. They are defined by these names. A case can also be made that their names define them.
We look into a strange world and the writers provide specifics with glee. Particularly compelling is how we come to learn about the lifestyle in the hotel. There is only one lifestyle and everybody is expected to submit to the rules or be punished severely. For example, in order for singles to become more motivated to pair up, masturbation is not allowed at all times. Lisping Man (John C. Reilly) gets caught and the punishment clearly does not fit the so-called felony. As he cries out, begging for the pain to stop, those in the room—his friends, acquaintances, neighbors—simply look down and go about their day. This is a microcosm of our society. I loved and admired its savage angle.
Those with a more ordinary taste will unjustly label the film as pretentious. I have come across numerous pieces of work that fall under this category and “The Lobster,” directed by Yorgos Lanthimos, is absolutely not one of them. The correct word is challenging, perhaps even ambitious, because it engages us by inspiring us to think a little bit about what is shown on screen. The metaphors, symbolisms, and ironies are not at all difficult to figure out. Still, sometimes material offers answers, other times it does not. A delicious example of the latter is the superb final scene. The film ends right where it should. It is a litmus test of how we define love and whether or not we believe in the old adage that love conquers all. After all, does it, really?