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.
Oh boy, who doesn’t love a list?
Lately, when I’m not working or playing videogames, I’ve been drifting around YouTube for just random things. When it’s not cats, creepypasta, or children falling over, I find some nice short films to watch. So here’s a list of four short films, in no particular order, that I’ve found to dub creepy, but nice.
He Took His Skin Off For Me
2015, Directed by Ben Aston – 11mins
Behind this gory facade lies a lovely tale of the sacrifices we make for loved ones, and the love we show and return. Sweet, intimate, and at times, uncomfortable, He Took His Skin Off For Me is a lovely metaphor for trust and vulnerability – not to mention how far we’re willing to go for the ones we love.
2012, Directed by Pablo Larcuen – 9mins
This is a movie that genuinely melted my heart to the point that it was oozing from my eye sockets. Elefante is the tale of Manuel, an average pencil-pusher who hates his job, his only friend, and struggles to be loved by his family. Things only get worse when he discovers that he’s turning into an elephant. Just watch and see.
2015, Directed by Jordana Spiro – 13mins
Oh hey, there’s that word “skin” again. This one’s a little…different. More of a coming-of-age story about isolation, puppy love, and just generally wanting to be accepted. And there’s bad taxidermy, which is a plus.
Death and the Robot
2013, Directed by Austin Taylor – 11mins
This short is beautiful. Two lonely entities discover one another, creating a legacy to change their world, despite heartbreaking sacrifices. Not really “creepy” per se, but nice none-the-less.
That’s all I wanted to share for now. Perhaps I’ll throw together more lists in the future. Have any to recommend? Please feel free to share!
I would first like to say that it has been literally years since I’ve seen the original Mad Max, so I have no intention of pulling out any kind of comparisons. Maybe another time. Second of all, the title Mad Max: Fury Road really doesn’t represent the film at all. How about, Fury Road: Featuring Mad Max?
While there’s plenty of screaming, driving, and high-octane explosions, this movie’s really about Imperator Furiosa (Charlize Theron) and her quest to overthrow the patriarchy. Well okay, first to free the “breeders,” but then overthrow the patriarchy with some encouragement from Max.
I’m not going to write you an essay on this wonderful take on women in dystopian action movies – Buzzfeed already did it for me. However, I do think it’s odd to focus so heavily on Max, just to shift the paradigm towards Furiosa’s redemption. Was it maybe to suck viewers in? Maybe to fund a franchise with some hype? More than likely a little column A, little column B.
Whatever, it’s great. These two work together to accomplish something bigger than themselves, without any of that superfluous sexual chemistry. Not to mention, Max isn’t really your typical “good-guy” protagonist: we know very little about him – he’s haunted by his past and only lives to survive no matter what the cost. Oh, and he’s crazy.
On the note of madness, the culture of the Wasteland is phenomenal. From the warlord spectacle down to the nomenclature, it’s obvious that a love and care went into creating this world – which is not surprising since George Miller himself is still in control.
From beginning to end, I could not not pull my eyes away from the screen. Sure, it’s ridiculous and violent, but it’s just so fun! Mad Max has really hit the nail on the head in terms of world-building – combine that with some fantastic pacing and War Boy shenanigans, good times are to be had all around!
If you couldn’t tell, I dug this movie. Yes, some spoilery things are a bit too convenient to handle. Yes, Mad Max isn’t really big in this. Yes, it is not perfect. But it’s just so much fun. It’s gritty without being daunting or foreboding – there’s hope, but it doesn’t hit you over the head. This is just some badassery at it’s finest, and exactly what I want in my summer movie.
Final Grade: A