Monthly Archives: August 2016
In a world where people are defined by their relationships, we follow one man on his search for compatibility. David (Colin Farrell) is confined to the Hotel, where must find love in 45 days. If he fails to do so, he will be transformed into an animal of his choosing and banished to the forest.
Alas, there is another hope – a group of loveless rebels, “Loners,” also inhabit the forest in order to escape the tyranny of the Hotel, the tyranny of love. Falling in love as a Loner has some gnarly consequences. But of course, we all know that romance can be found in the most unlikely of places.
I thoroughly enjoyed this film. It’s surreal, dark, and clever – not to mention, social commentary galore. And it prominently features music from Nick Cave and the Bad Seeds, so bonus points there.
When David flees the Hotel, he is stripped from society’s preconceptions, and like the surrounding fauna, is ruled by instinct. Though forbidden amongst Loners, David finds himself drawn to a nameless near-sighted Loner, who I’ll call “Lady” (Rachel Weisz). Of course, Lady is sweet on him, too.
We as people have such strange views on relationships in our society. Decades of advertising have taught us that sex is something we preen for and deserve, lest we end up a sad, lonely loser. The Lobster takes parts of this concept and adds base commentary on objective matchmaking, as well as the addition of children to unhappy homes.
And yet, despite what he and Lady go through in order to pursue what we could deem a “normal” relationship, David is driven by societal standards to make everything worse. This decision in the end is bittersweet: he changes because that is what society has taught him to do, but also by doing so, he can wholly share a world with Lady. Though an abstract portrayal of the things we do for love, I think it’s fair to say that the metaphor is an apt one.
Twisted, strange and oddly beautiful, The Lobster offers all sorts of allegories between the lines. It’s a film that must be watched and discussed. Undoubtedly, it’s something you’ll either get or you don’t – and there’s nothing wrong with that.
Just look at this trailer.
At first glance, I fell in love: the stop-motion mixed with a gorgeous cover of one of my favorite songs made my heart and imagination soar. Not to mention the hype in more recent ads, commending the film’s beauty and depth – I was stoked, to say the least. Alas, I left my seat feeling …well, underwhelmed.
It’s strange to have a Japanese story with a predominately white cast – well, maybe not strange, after all, this has been happening for decades, why stop now? (Despite his appearance in the trailer, George Takei had maybe five lines.)
Though I do have to say that the film is objectively lovely – an absolute spectacle, but suffers under the weight of its own mythos; I found myself begging for more mysticism and lore, but I was only met with the same run-of-the-mill lessons of the importance of story-telling and familial commemoration. Not that these things aren’t important, but maybe I was expecting more depth or at least some deviation of some sort – or hey, maybe some sort of recognition of the shamisen’s significance and history?
Speaking of the shamisen, the score and tonality was gorgeous. I’m not sure if it was an issue of time or studio restrictions, but I would have appreciated this film a lot more if it revolved around more myth and magic – I want to know how Kubo learned about his gifts and if and how he was taught these abilities.
And as I mentioned, this is a spectacle – especially in 3D. Director Travis Knight and Laika are no strangers to the third dimension, and they work to capture the potential of this extra space. After all, this is a physical, hand-crafted medium, and I think that deserves some extra respect.
I felt pretty divided at the end of this one. It was lovely, but needed a lot more oomf. There’s a lot of heart to be had, but stops short of definition.