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.
In early 18th century England, a frail Queen Anne occupies the throne and her close friend, Lady Sarah, governs the country in her stead. When a new servant, Abigail, arrives, her charm endears her to Sarah.
A traumatized veteran, unafraid of violence, tracks down missing girls for a living. When a job spins out of control, Joe's nightmares overtake him as a conspiracy is uncovered leading to what may be his death trip or his awakening.
After the untimely death of 16-year-old Martin's father on the operating table, little by little, a deep and empathetic bond begins to form between him and the respected cardiothoracic surgeon, Dr Steven Murphy. At first, expensive gifts and then an invitation for dinner will soon earn the orphaned teenager the approval of Dr Steven's perfect family, even though right from the start, a vague, yet unnerving feeling overshadows Martin's honest intent. And then, unexpectedly, the idyllic family is smitten by a fierce and pitiless punishment, while at the same time, everything will start falling apart as the innocents have to suffer. In the end, as the sins of one burden the entire family, only an unimaginable and unendurable decision that demands a pure sacrifice can purge the soul. But to find catharsis, one must first admit the sin.Written by
The film's title comes from the ending of the tragedy Iphigenia in Aulis by Euripides. See more »
[All goofs for this title are spoilers.]
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You know, not long after my dad died, someone told me that I eat spaghetti the exact same way he did. They said what an extraordinary impression this fact had made on them. Look at the boy, look how he eats spaghetti. Exactly the same way his father did. He sticks his fork in. He twirls it around, around, around, around, around. Then he sticks it in his mouth. At that time, I thought I was the only one who ate spaghetti that way. Me and my dad. Later, of course, I found out that everyone eats ...
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Lanthimos walking on the slippery paths of ancient tragedy and Hollywood
Having watched the Dogtooth and Lobster, I realize to my disappointment that Lanthimos's choices on plots and their transfers on screen follow a downward spiral. It is a great waste of cinematographic and acting talent to spread misery and pain without an attempt to awaken people's minds towards noble thinking and way out of the purpose of the notorious but didactic nature of good old ancient greek tragedies. And in this case, borrowing and twisting the ancient myth regarding the original plot and purpose, once more proves to be a very dangerous undertaking that leads knowledgeable audience to inevitable comparisons almost surely to the loss of the borrower and people ignorant of the context in front of an uninterpreted mess (as I often hilariously found out by reading previous reviews of the film).
Stretching situations to the utmost ends may be a strong demonstrative tool for expressing views on bad reality but somehow, this has to drill down to the causes according to the creators' view. I was able to follow the line on Dogtooth and Lobster, easier in the first case, harder in the second but here, I really can not figure out an original and innovative view on causes. If that was not the purpose of the film, then it is just a plain useless, flat and twisted representation of the old myth. I recommend you to choose instead, films of Lars von Trier, even the Antichrist. In those films you can also delve into despair but at least with far more poetic ways.
Being myself an existentialist and often cynical on my views on humanity and people's behavior on situations beyond their abilities, I personally prefer Tarkovsky's God-seeking world or even Tsafoulias's recent work Eteros Ego (The other me) with its struggling characters and their attitudes as opposed to the ever film-by-film evolving deadlocked and suffocating Lanthimos's micro-cosmoses that teach us (with often needlessly graphic enstantanees) less and less.
A piece's of art impression is about provoking minds to think forward. In that sense this piece is a failure.
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