Yorgos Lanthimos, best know for 2009's Dogtooth, has a knack for creating truly unique environments in which to base his stories. That streak continues as he takes audiences on a wild ride with his intellectually stimulating, dystopian adventure The Lobster.
Opening up with David (played with vulnerable precision by Colin Farrell) as he check into The Hotel, a place where all single people are sent to find a romantic partner, The Lobster immediately sets the stage for its premise by casually setting the parameters for its unorthodox universe. David, a recent divorcee, is given forty-five days at the hotel to find a new partner. Fail and he will end up like his brother, transitioned into the animal of his choice. David's choice: a long living lobster.
Poised with dark, witty humor and a unique ability to poke fun at itself, Lanthimos starts the film off strong, utilizing Farrell who nails his portrayal of a man without much to loose in his attempt to live out the remainder of his life as a human. When David begins to meet others within the hotel (including the likes of John C. Reilly, Ben Whishaw and Ashley Jensen), many of which are going through the same unexpected stay at The Hotel that he is, we get some beneficial background information on its guests thanks to a clever voiceover by co-star Rachel Weisz. Presented more like a book reading than a natural telling, you can't help but bask in the stylistic tone and deadpan delivery that kindles the film during its flawlessly paced build up. Her delivery is a uniquely placed metaphor to the society that Lanthimos has created, personifying the lack of emotion and common sense that goes into their day to day routine.
As the story progresses and we witness David go through (and react) to the pressures that come with his presumed fate, you can't help but cheer for his success and chuckle at the unusual (yet fully believable) obstacles that stand in his way. And when he resorts to a mountain of a lie in order to find his one true love, their encounters during their stay in the highly covered couples room is truly magnificent.
With the story's transition from the hotel to the woods, and our initial face-to-face introduction to our narrator, the story as a whole begins to come into full view. The extended universe that includes an awkward, dysfunctional albeit successful rebellion provides a wider understanding of the culture that Lanthimos has created. It isn't perfect, though the comedic undertone that comes with their involvement, as well as the tensions that arise when the group makes their occasional visits into The City, adds an engrossing layer of subtle humor and anxiety.
As the story enters its third act and the inevitable begins to take shape, Lanthimos builds on his premise and offers up an ending that is as sincere as it is absurd. Refusing to remove all emotion from the formula as jealousy stands front and center, the well regarded director confirms the film's pulse and sense of human nature. Combine that with a stunning soundtrack and The Lobster is one of the most entertaining, though downright peculiar movies of the year.
