In a dystopian near future, single people, according to the laws of The City, are taken to The Hotel, where they are obliged to find a romantic partner in forty-five days or are transformed into beasts and sent off into The Woods.
In early 18th century England, a frail Queen Anne occupies the throne and her close friend, Lady Sarah, governs the country in her stead. When a new servant, Abigail, arrives, her charm endears her to Sarah.
A love story set in a dystopian near future where single people are arrested and transferred to a creepy hotel. There they are obliged to find a matching mate in 45 days. If they fail, they are transformed into an animal and released into the woods.Written by
The movie mainly focuses around three colors; blue, green and different shades of red (beige pink to a deeper red). This can be noticed in the background and the clothes throughout the movie, and how the short sighted woman says that she would wear blue and green clothes. Another example is when Colin Farrell's character brings up that lobsters are "blue blooded," and lobsters are red as well. See more »
During the opening scene, the camera operator can be seen adjusting the lens in the reflection of the drivers door window. See more »
The Limping Man:
Hello everyone. My mother was left on her own when my father fell in love with a woman who was better at math than she was. She had a post graduate degree I think, where as my mother was only a graduate. I was nineteen at the time. My mother entered the hotel, but didn't make it and was turned into a wolf. I really missed her. I found out she had been moved to a zoo. I often went there to see her. I'd give her raw meat. I knew that wolves liked raw meat, but I couldn't figure out which of the ...
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"The Lobster" takes the tropes and expectations of modern-day relationships and satirises them almost out of existence. The farcical "Hotel" aims to partner 'loner' humans with each other (based on 1 characteristic) in a stress-inducing timeframe of 45 days, often resulting in deception and the suppression of true feelings in order to garner a relationship as a means of escape. The other side of the coin is the outcast tribe living a meagre existence in the woods, where even flirting is punished with physical mutilation. The cold mechanical delivery of every single character's lines emphasises the absurdity of the situation, and bizarrely makes the jokes even funnier. Not since Richard Ayoade's "The Double" has cripplingly awkward humour been so effective. This film has a lot to say about the fickle nature of relationships, set against the background of a dystopian society. The cinematography is as flat as the actors' delivery; this contributes to the emotionally-stunted, often silent world that the characters inhabit. The ending is beautifully ambiguous and surprisingly tense for such an understated scene. A score which fluctuates from terse, rough string melodies to Italian opera heightens the sense of weird-art-film which pervades "The Lobster": definitely a film which requires full attention, reflection, and a mind open to arty weirdness, "The Lobster" is a remarkable oddity.
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