Yorgos Lanthimos’ newest film The Lobster proves to be a certifiable triumph in film. The director’s first English feature film finds similarity with multiple titans of the industry. The characterization and dialogue can be reminiscent of Wes Anderson. Meanwhile many of the shots and grandeur of the film feel similar to the late, great Kubrick. While the styles may feel similar, The Lobster has a definitive style that ultimately sets it apart from anything seen before.
The story, set in a not too distant dystopia, satirizes and criticizes how society views relationships. David (Colin Firth), a newly single man, finds himself on a mandatory retreat in which he is urged to find a new mate. If he is unsuccessful in his pursuit, he will be turned into an animal at the end of his stay. David, along with his other single friends (John C. Riley and Ben Whishaw), are forced to participate in events and activities in the hopes of finding their mate. In this future society every person must have a partner, and those without one face punishment.
In the strong satirical nature of The Lobster, there is a great amount of humor. While mostly shrouded in deadpan delivery or unconventional juxtapositions, one finds themselves often snickering throughout the film. There is a heavy intellectual presence to the film, leaving one to ponder and thing not only of the film, but of society itself. After the final frame, one does not think of The Lobster as merely a movie, but rather a piece of art.
