I tend to avoid blockbuster-franchise-superhero-sequel movies for the same reason I avoid chain stores — they have enough money, what’s my $20 to them? I’d rather support a mom-and-pop establishment. Of course, there are a couple exceptions to my rule — the Christopher Nolan Batman movies, Chipotle before the germs — but for the most part, I hashtag-shop-small.
Oh, also, you don’t need a shit-ton of money to make a great movie. Case in point: Batman vs. Superman was a $250 million punchline, whereas The Lobster was a $4.5 million work of art.
If you liked 1984, and/or the concept of a dystopian future, you’ll like this movie. I’m certain it’s a direct correlation. In The Lobster, there are a certain, very specific set of rules that people follow, and they’re incredibly fucked up, but those rules actually break your (the viewer’s) thinking habits. It’s a fun paradox and a mind-bending couple of hours.
The Lobster is a lush movie about an empty world. The purpose of life is to find a partner, full stop. Single people are given 45 days to do so in a sterile, hotel-like environment; if they don’t, they’re surgically turned into the animal of their choice. Singles tend to pair up on the basis of shared superficial traits, like speech impediments, since they have no time to form meaningful connections. Singles can also extend their stays in the hotel by venturing out and killing escapees, who live on the lam and extoll the virtues of loner-dom.
The story revolves around bespectacled David (Colin Farrell, who continues to surprise me with his versatility), whose animal of choice — the lobster — contrasts starkly with the mammals that most people select. He seems to have a higher intelligence and tolerance for stupidity than everyone else, making his existence a pretty pathetic one. His friends (John C. Reilly and Ben Whishaw, both heartbreaking), however, are worse off because they’re so submerged in their fates that they can’t see life any other way. His love interests (Angeliki Papoulia, Rachel Weisz) are arguably more evolved than he is, and they inspire him to see more than what’s there.
Without spoiling anything, I’ll say that the ending makes you consider a really difficult question (Consider the Lobster, if you will): Is it better to live life alone, or with a partner? Maybe the answer is obvious in those terms, but considering how partners are chosen, you might surprise yourself with your revised answer. Would you want to be with someone forever who has the same physical weakness or psychological tendency as you do? What kind of life could you build together? Would either of you actually change or grow? By posing these questions in the surreal world, the writers (Yorgos Lanthimos, who also directed, and Efthymis Filippou) make the real one seem … pleasant. Almost.