The Lobster, the first English-language feature by the daring Greek director Yorgos Lanthimos. Absurd and surreal don’t seem sufficient words to describe what transpires in The Lobster. In the new world, citizens can’t be single. There’s a law against it. Security will harass you and demand to see your license of coupledom.
If you don’t have it, you’re off to a strange hotel, where singles have 45 days to search around for a suitable bachelor. Failing that, one have the option of being transformed into the animal of his/her choice. It stars Colin Farell as a newly-single man trying to find someone so he can remain human. The dog accompanying David is his brother.
David chooses to become a lobster, due to their life cycle. David makes friendships with Robert(John C Reilly), a man with a lisp and John, a man with a limp. David’s day-to-day activities at the hotel – meals, seminars and dances, are narrated by a nameless woman, played by Rachel Weisz. She is a loner living in the forest. In the film’s second half, she and David start a romantic relationship. But Lanthimos keeps the audience guessing about their ultimate ends right up to the final shot, and beyond. The Lobster deals with extremes of human emotion by factoring most of the emotion out of the equation. Through that premise and Farrell’s deadpan performance, Lanthimos dissects the superficial things we do for love. Rachel Weisz was spectacular. The Lobster remains strangely romantic throughout, an absurdist take on the notion that great love stories don’t always end in positive note.