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.
The adventures of Gustave H, a legendary concierge at a famous hotel from the fictional Republic of Zubrowka between the first and second World Wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend.
F. Murray Abraham,
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
A24 is best known for their films Lady Bird, Moonlight, The Florida Project, The Disaster Artist, The Lobster, The Witch, and Ex Machina. See more »
When the heartless woman is escorting David out of their room, she clearly has blood splatters on the backside of her calf. As she chases David through the halls, the blood on the back of her calf disappears. When David shoots her with the tranquilizer in the back, the blood has reappeared on her calf. See more »
"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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