The Lobster

Trailer Watch: Colin Farrell Seeks a Mate in the Absurdist Cannes Hit The Lobster

Greek auteur Yorgos Lanthimos (Dogtooth, Alps) makes his English-language debut with the absurdist comedy The Lobster, which premiered at Cannes 2015. The satire stars Colin Farrell as a newly single architect looking for love. The newly released trailer depicts a bizarro world in which a seemingly ordinary hotel serves as a twisted dating service of sorts. Unless guests hook up with a mate within 45 days, they’ll be turned into an animal of their choice and released into the wild (Farrell’s character chooses a lobster, thus, the film’s title). In his report from Cannes 2015, Filmmaker‘s Aaron Hillis called the film a “wickedly laugh-out-loud, quasi-dystopian […]
by Paula Bernstein on Mar 18, 2016
TIFF 2015 Critic’s Notebook #2: High-Rise, The Lobster and Anomalisa

Toronto seemed the perfect place for Ben Wheatley’s High-Rise to have its world premiere. The J. G. Ballard adaptation stages a class-war in an ultra-modern high-rise, and the theater where it played Sunday night is only about a mile from the luxury condo developments that tower over Toronto’s waterfront, which suggest a modern Eden in shiny glass and steel but have instead exacerbated the city’s homelessness problems and real-estate bubble. Another felicitous detail to the evening: the screening was sponsored by Visa and before you could take your seat to see Wheatley’s commentary on class and capitalism, there was a […]
by Whitney Mallett on Sep 16, 2015
Cannes 2015 Critic Notebook #1: Standing Tall, Tale of Tales, The Lobster

Could it be, six features deep at the most exalted film festival in the world, that this writer’s favorite film isn’t some scrappy Critics’ Week indie or an ennui-driven Eastern European drama of profound sociopolitical relevance — but rather, the $150-million studio juggernaut Mad Max: Fury Road? Nothing new needs to be said about the most inventive, thrilling, lyrical action flick in ages (considering it’s now opened worldwide) except that it’s radically more feminist than Emmanuelle Bercot’s Standing Tall. Cannes’ first opening night selection to be directed by a woman in nearly three decades, Bercot’s juvenile justice-system drama — a clumsy, histrionic […]
by Aaron Hillis on May 15, 2015

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