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With films like “The Lobster” and “The Favourite,” the Academy Awards-nominated Lanthimos has established himself as one of the most intriguing and masterful directors working today. He has a keen eye for the absurd, deadpan dialogue, and making the morose mundane. Or perhaps the mundane the morose. Viewers are just as likely to laugh as they are to teeter uncomfortably in their seats. Lanthimos deals with such subjects as a dystopian society that forces marriage upon singletons or else turns them into an animal (“The Lobster”) and a father who must kill a family member (“The Killing of A Sacred Deer”). The director wins accolades and ignites debates and fierce fandom.
How To Describe His Cinematic Style?
Few leave a Lanthimos picture without grappling with some kind of ethical question. His films seem to call for an attentive viewer. His oeuvre asks probing social questions. The movies will have you think about the self in relation to the whole. And quite crucially, Lanthimos will probably leave the viewer wondering what they themselves would do in certain, often impossible and cruel, situations. Say, one where they had an opportunity to regain a lost crown (“The Favourite”), or how to survive if forced into exile and linguistic limbo by your parents (“Dogtooth”).
A Filmography of Farce
Many might be familiar with his recent English language work, dating back to “The Lobster,” but Lanthimos cemented his cinematic voice in his native Greece, with features like “My Best Friend,” “Kinetta,” “Dogtooth,” and “Alps,” before transitioning to English language films. His films feel larger than life. Having once binge-watched several of his movies one night, there is an impression of emerging hours later my mind a flurry of thoughts, dystopia, nightmares, the remnants of biting humor still gnawing. Almost certainly, viewers will be looking forward to his pioneering work for years to come.