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Yorgos Lanthimos is a genius director who has carved his name into the minds of the audience and the history of cinema. Lanthimos, who made his name known to moviegoers around the world for the first time with the movie Dogtooth (2009); With Alps (2011) that followed, he made it sound like he was working on a mischievous, intelligent and striking cinematic approach. Finally, this year, we realized that we were right in our intuitions. Because The Lobster (2015) took its place as the pinnacle of the successful director's filmography. The film, which won the Jury Award at the 2015 Cannes Film Festival, has many features that it can gain a cult title in the coming years. These dizzying features, on the other hand, take the audience's excitement up to their throats throughout the movie and give the audience a tiring experience until the curtain goes black.
The movie, which starts with one of the fixed shot shots that dominate the general, gives the impression that the continuation will progress darkly from the very first sequence. The director's subject matter and the richness of the subtext are the biggest indications that we are dealing with a dark and dystopian universe. However, the director masterfully blends the contrast of drama and comedy with his film, which he edited with a humorous Haneke dexterity.
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Film; hotel visit can be divided into three parts as solo-travelers and desertion. In the entrance section, the director begins to show the audience that absurd situations will occur when David (Colin Farrell), who has settled in a hotel that imposes the condition of finding a romantic partner on its visitors, steps into this environment. The dullness, numbness and lack of emotion on the characters create the conditions of the world in which the film takes place. It is not too late to say that human states, which sometimes reminds us of Jens Lien's movie The Bothersome Man (2006), actually reflect the troubles of modern-day individuals. The hotel that throws the first loop of the striking events in the film and the conditions that the hotel imposes on its visitors show how the system and environment we live in shape us on the basis of marriage. Hotel visitors have to find a partner during their stay, which they choose themselves during their check-in. For example, the visitor can tell the attendant that he wants to have a homosexual relationship and that he intends to find a wife accordingly, during registration. Thus, a scene similar to the sex game played with 'Soma' pills in Aldous Huxley's Brave New World takes place in the story.
While witnessing all the absurdities experienced as spectators during David's hotel visit, we can breathe a sigh of relief in the comedy scenes that the director regularly places after the shocking scenes. For example, hotel visitors cannot masturbate and provide their own satisfaction as per the rules. They are provoked by the hotel staff in order not to find a partner and not to lose their interest in sexuality. Just as individuals who want to get bored and escape from the capitalist modern world fall back into the lap of the system, hotel visitors can't get out of this system by losing their interest in sexuality. Because they're all in the grip of Big Brother. The director's blending of such scenes with comedy reminds us that we are in a state of laughter, even though we are about to cry.
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The hotel management regularly stage propaganda advising its visitors that it is good to find an emotional partner. Because the institution of marriage is seen as the most necessary condition for starting a family in most societies. Extra-marital affairs are always subject to social pressure and these people turn their noses up. At this point, the large number of motifs that the hotel management reveals while processing the messages it wants to impose shows that the only person is needy and that women without a spouse will be exposed to all kinds of evils (harassment, rape, etc.). The promises of the hotel and those who achieve these promises are a role model for the visitors.
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Experiencing extramarital affairs even among famous people in today's world makes them not a role model and families prevent their children from taking those people as an example. Thus, famous and popular people, who are the toy of the system and dictated by the media as role models, begin to disrupt the functioning of the system they are connected to. Just like in the movie, the hotel, which represents this system and is the survival of the system, constructs marriage as an attractive and sacred object that needs to be reached in order to hold the strings of the society. In fact, the hotel management says that it will provide a child for visitors who enter romantic relationships in case they experience difficulties during their relationship, so that their regularity is not disrupted. If the visitors cannot find a mate during their stay, they transform into any animal they wish and are released into the wild. Unlike Gregor Samsa, who turns into a cockroach and is subjected to the horrifying stares of those around him, in the film, the transformative take the form of the animal they desire. In this case, David chooses to turn into a lobster because he likes to swim.
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Solo-wanders stand up to the system-dictated issue of romantic partnering, and resist the wilderness, where non-conformists are transformed into animals and released. In fact, within this resistance group, the community's own rules are formed, and heavy punishments begin to be given to those who have relations among its members. As we get to know the solo-travelers, we see that the members of the resistance group are individual people. They even get their sexual satisfaction by masturbating and having fun by listening to electronic music. Describing the situation of the people of the great metropolises such as New York, Paris and Tokyo of modern times, the solo travelers actually reveal the deplorable state of the enlightened person. Although he wants to stay out of the system, succumbing to individuality and becoming lonely, the person turns his own life into a reclusive life by resisting even the first two steps of Maslow's pyramid of needs. Moreover, the corruption in the groups he is in shows that this path, which he started in fact, succumbed to the system by swallowing everything like a black hole.
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On the other hand, the people of the revolutionary group are blindly following their leaders, not realizing that this resistance has also turned rotten. Remembering the words of Murat Uyurkulak, “Revolution was a possibility and it was beautiful”, we witness the state of fear and suppression in all of them. The leader of the lone-wanderers revolution, like Stalin, displays a despotic, totalitarian and cowardly rule. He drives the former hotel employee, who joins the resistance as if he were himself, against the Nearsighted Girl character (Rachel Weisz), whom he says has blinded him in the greatest of his manipulated games. Thus, he feels as if he has struggled without the knowledge of the other person. Ultimately, he shows the resistance members that he has died and resurrected, and that he is an invincible leader. (The management that Orwell mentioned in 1984 is inside the hotel, and the resistance he describes in Animal Farm takes place among the lone travelers. In fact, the pig, who approaches the lone travelers in a scene, does its duty to remind us once again of this situation.)
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