SuppliedThe Lobster
Directed by Yorgos Lanthimos
Starring Colin Farrell, Rachel Weisz, and John C. Reilly
Available on Netflix
During a recent late night Netflix binge, I came across The Lobster. A film that, by the end, I found myself sitting in puzzled thought, asking the question: how weird is too weird?
The Lobster is a 2015 dystopian comedy-drama starring Colin Farrell as a man who’s recently been abandoned by his wife. In the film’s particular dystopia however, being single is outlawed, so Farrell’s character is given 45 days to find a lover or face the consequences. In this case, that means he will be turned into an animal (of his choosing, mind you). The story follows the exploits of this man as he attempts to find love in a dangerous time. Weird? Yep. Intrigued? So was I. After watching, I have to say its obscurity — and plain goddamn strangeness —is something worth experiencing.
While not the strangest movie that exists, nor the weirdest by the director, The Lobster caught my attention following the critical acclaim it garnered. Plus, given the current (and sad) state of superhero movies, an indie film kick was in the cards. After turning on the movie though, it was its blatant bizarreness that drew me in right away. One of Colin Farrell’s first lines in the film is him outright saying he would like to be a lobster. To which I responded, Yeah, fuck it, why not Colin? You be a Lobster. It was puzzling but entertaining nonetheless.
As the movie continued, this wasn’t the last time I felt this way, as the strangeness of what I was seeing was simultaneously engaging and off-putting. At times, the film’s quirkiness kept me in a perpetual, and strange, state of anticipation but in other moments — because of cringe-inducing oddity — I had to pause and take a break. The pacing of the dialogue is just one reason that this film is one easier to handle in short bursts. If you dive into this movie, prepare yourself for The Office levels of of awkwardness. But so much worse.
The film’s quirky dialogue is one of it’s hallmarks. It’s almost abrasive at times but is also where most of the comedy lies. Characters will talk about their immense love for one another one second, and immediately talk about wanting to fuck the next. It’s the type of shocking forthrightness that forces an uncomfortable laugh.
The Lobster is objectively good; it’s shot brilliantly, is well-acted by the whole cast, and the plot, while odd, is coherent and well-paced. But in its avoidance of normality, The Lobster really is in a league of its own. Despite the fact that it features (at times) a similar style to Wes Anderson, it remains an utterly unique watch.
So then, to answer the question, how weird is too weird? As it turns out, so. fucking. weird.
