The Lobster

In a dystopian near future, single people, according to the laws of The City, are taken to The Hotel, where they are obliged to find a romantic partner in forty-five days or are transformed into beasts and sent off into The Woods.

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  • ★★★★ review by adrianbalboa on Letterboxd

    so i get to spend 45 days in a hotel and if i can go the whole time without talking to anyone i get to become a house cat? ideal! when does the horror element come in

  • ★★★★½ review by davidehrlich on Letterboxd

    i want to be turned into a giant sea turtle so i can watch this movie for 150 years.

    ALSO: The Lobster Colin Farrell is *so good* that he makes True Detective Colin Farrell look like Winter's Tale Colin Farrell.

    not sure i can remember a director so gracefully moving away from his native language (maybe Park Chan-wook with Stoker, but other, less recent examples elude me). in many respects, this feels like the *most* Lanthimos movie to date, a touch broader than his usual stuff but no less insightful or resonant for it. methinks it's less a study of singledom vs. monogamous coupling than it is an uncertain portrait of the mysterious hows & whys of what brings people together, the cost of it falling apart, and the danger of trying to force the issue. but return visits and more time to chew are a must.

  • ★★★★★ review by Lucy on Letterboxd

    “we’ll find a way”

    tonally one of the most fitting films of this decade. the first half is so bleak but certain moments make me laugh every time, and by the time our protagonist is in the woods, it blossoms into a full blown love story while still keeping it’s dry absurdity. what was working already as a completely new kind of film experience becomes more profound: you always want what you can’t have. this time i even surprised myself by crying. multiple times

  • ★★★★★ review by Arielrocks5 on Letterboxd

    It's interesting how much the two halves of this film complement each other in what they try to say.

    The first is very blunt and obvious in how it tackles the ideas of love in the eyes of our society, but the second is a much more disturbed and gentle means of showing how much we do need some people in our lives, and how being on our own all the time isn't always the answer.

    We need companionship as much as we need our own space, but in the air of our world, we can't seem to accept this fact. It's always one extreme or the other.

    I don't think I was that exposed in the realms of dark humor when I first watched this to catch on to all the genuinely hilarious moments (such as the overbearing music playing over particularly mundane sequences filmed in slow motion and how blunt and painful everything everyone says is in the Hotel half of the film) and how richly detailed a lot of the screenplay is.

    Yorgos Lanthimos seems to be a guy with a lot to say but ultimately relies on the viewer to make out what exactly he's trying to say in the first place. I'm still not quite sure what to make of the ending in terms of what it means for the rest of the film's themes and one detail pointed out about it that still puzzles me, but I think I've gained a greater appreciation for it then when I first saw it.

    I'm glad I gave this a rewatch and the rating it truly deserves. I look forward to finding a place for it among my all time favorites.

    P.S: Colin Farrell and his incredible tummy and mustache combo were snubbed.

  • ★★★★★ review by Lucy on Letterboxd

    i just realized there isn't a single lobster in this movie

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