Yorgos Lanthimosis one of the most talked-about contemporary directors, thanks to his magnificent, unsettling, absurdist films. His filmography carries a strange aura, and his recent multiple recognitions atthe 96th Academy Awardswith his 2023 outingPoor Things, which snagged four Oscars, is a testament to the world of cinema acknowledging his auteur status. Lanthimos' films are like nothing you’ve seen before, yet they possess a familiarity that draws you in. you’re able to relate to their settings, characters, and even premise, but you haven’t quite experienced anything like them yet.
WhilePoor Thingsis the film that has earned him a seat at the highest table, Lanthimos has created equally bizarre movies with his distinct signature look and feel, establishing himself as one of the most influential directors of his generation.Lanthimos' films are disturbing yet thought-provoking explorations of societal constructs. Through dark humor and surreal situations, his films challenge viewers to question the very nature of reality and the impact of social conditioning. Before teaming up again with Best Actress winnerEmma Stone(with whom he has also collaborated onhis upcoming project,Kinds of Kindness) and screenwriterTony McNamaraforPoor Thingsafter theirsuccessful dark historical dramaThe Favourite, Lanthimos madeDogtoothin 2009, a Greek-language film that earned an Oscar nomination in the Best Foreign Language Film category. This film shares intriguing parallels withPoor Thingsand provides a microscope through which Lanthimos' works can be examined.
A controlling, manipulative father locks his three adult offsprings in a state of perpetual childhood by keeping them prisoner within the sprawling family compound.
Like ‘Poor Things,’ Yorgos Lanthimos' ‘Dogtooth’ Questions Social Constructs
Yorgos Lanthimos' picturesoften have unique premises, andDogtoothis no exception. The film revolves around a family consisting of three grown-up children – two girls and a boy (played byMary Tsoni,Angeliki Papoulia, andChristos Passalis) – whose parents have sheltered them from the outside world by confining them to a lavish home with a magnificent swimming pool and a lush garden. In this peculiar world, the father (played byChristos Stergioglou) is the arbiter of rules while the mother (portrayed byMichelle Valley) is a supportive submissive wife, and the children are completely unaware of life beyond the confines of their home’s fence. Their parents have indoctrinated them with the belief that the world outside is too perilous for them, and the only way to leave their opulent prison is by car after they lose their “dogtooth.” The film begins with a radio language lesson, where the children are taught distorted meanings of common words, such as “sea” and “motorway,” to limit their curiosity about the outside world. In their restricted environment, phrases like “pass me the telephone” at the dinner table mean “pass me the salt,” while “zombie” refers to “small flower,” leading to the boy’s excitement upon encountering some in their garden. As the film progresses, the outside world gradually infiltrates their sheltered existence, sparking their curiosity and challenging their perceptions.
Similar toPoor Things, which explores the concept of a surgically-enabled child’s brain in a grown woman’s body,Dogtoothdelves into life from a comparable perspective, focusing on the impact of societal indoctrination. Like Emma Stone’s character inPoor Things, the three grown-up children inDogtoothnavigate life based on the limited knowledge imparted to them within their secluded world. Through these premises,Lanthimos prompts us to question whether our perception of reality is an inherent truth or a construct shaped by external influences.InPoor Things, Bella Baxter (portrayed by Stone) is presented with a blank canvas upon which she can freely paint her life oblivious to societal prejudices or norms. Conversely, inDogtooth, the three children, raised within the confines of their parents' restricted environment, perceive the world solely through that lens.
Everything We Know About Emma Stone & Yorgos Lanthimos’ ‘Poor Things’ Follow-up, ‘Kinds of Kindness’
Hot off the success of ‘Poor Things,’ Emma Stone and Yorgos Lanthimos are teaming up once again with a unique anthology film.
In an interview withThe Guardian,Lanthimos agrees that there are similarities between the two films. “Well, the imprisonment of Bella and the fact that she doesn’t understand the world and she is kept there, is very much something that exists inDogtooth,” Lanthimos says.As a result of his surrealism,Lanthimos' characters are often unnerving, not because of what they hide, but because of their absolute transparency.
Yorgos Lanthimos Explores Dark Humor in His Films
Often, Yorgos Lanthimos' films present a peculiar world with strange rules. However, one element that surprisingly meshes smoothly with this oddity is hisuse of dark humor. Experiencing his films feels like being immersed in a dream, where you seamlessly follow the narrative, however bizarre, and may even find yourself laughing during darker scenes. TakeThe Lobster, for instance, where characters face the absurd consequence of turning into animals if they fail to find a partner during a forced hotel speed-date-like congregation of singles. When asked which animal he would choose to become if he remains dateless, David, the main protagonist (played byColin Farrell), unflinchingly and calmly replies, “A lobster.” This unexpected response catches you off guard, as you might expect him to resist the suggestion. It’s as if he has already resigned himself to this fate.
This unexpected humor is a recurring theme in Lanthimos' films. InDogtooth, he establishes this comedic tone early on, with one of the children suggesting they play an endurance game involving placing their fingers in flowing hot tap water, with the longest-lasting finger winning. Then during dinner, one of the children randomly asks the mother about the meaning of the word “pussy,” to which the mother responds with an equally ludicrous explanation, “a big light,” and goes ahead to demonstrate its use in a sentence, stating, “The pussy was switched off and the room was plunged into darkness.” The sheer unpredictability of the question and the unconventional response is not something you are prepared for.
To accomplish the delicate balance between drama and dark humor, Lanthimos relies onhis actors' performancesfor the right expressions, something he has proved he can extract from them. His films are marked by great performances, with actors earning recognition at major award ceremonies,including the Academy Awards. But Lanthimos' humor, just like his films, is not typical. It is the kind that hides in uneasy and unusual situations. InThe Favourite, for instance, Emma Stone’s character, Abigail, makes a layered threat to her competitor (played byRachel Weisz) for “the Queen’s favourite” about exposing her darkest secret during a dove-shoot-out practice session. The competitor picks up Abigail’s gun and points it at her before pulling the trigger, which creates a huge explosive sound. Abigail falls to the ground believing she has been shot, only for the competitor to explain the safety of guns to her. In retaliation, Abigail shoots a dove too close to her competitor’s face, spurting its blood in her face. It’s such a kind ofdark humor that permeates Lanthimos' films.
‘Dogtooth’ Shows Yorgos Lanthimos' Directorial Journey
Many elements seen in Lanthimos' unique directing can be traced back to his earlier films, includingDogtooth.Characterized by ubiquitousabsurdity, stilted dialogue,surrealism, andviolencethat showcases the height of human cruelty,Lanthimos' films are strikingly unique and deeply unsettling. His shots often linger a moment too long on screen, either in utter silence or with an equally unsettling soundtrack. This provides a viewer-character moment. InDogtooth, he also frequently uses “headless shots” and frames characters who are not necessarily speaking at the time, offering a different perspective for the narrative. These artistic choices create a sense of distortion that ultimately creates discomfort. Combined with his unique locations and visual composition, Lanthimos' directing demands our attention.
Lanthimos' films are characterized by their sharp imagery, oftenemploying ultra-wide lenses to immerse viewers in the worlds of his characters. InThe Lobster, for instance, he utilizes wide shots to depict the confinement of the hotel, surrounded by water and a mountain on one side, with a woman’s wailing on the only exit side highlighting the desperation of those within. Similarly, inThe Favourite, wide shots capture the opulent lifestyle of the Queen (played byOlivia Colman), juxtaposed with her profound loneliness. For instance, a scene where the camera pans from the Queen’s gaze to reveal an empty, luxurious space before she quickly retreats to her room underscores her isolation within her lavish palace. InDogtooth, Lanthimos sparingly employs wide shots to show the high fence and the lavishness surrounding the children’s home prison while utilizing close-ups to show how claustrophobic their home is.
A defining aspect of Lanthimos' cinematography ishis unique use of the zoom-in shot.Unlike other filmmakers who reserve this shot for pivotal moments, Lanthimos employs it in unexpected places, revealing its significance as the scene unfolds. InThe Lobster, he employs this shot as David discusses his desire to become a “lobster.” Initially obscure, the shot gains significance as David articulates his unconventional aspiration, demonstrating Lanthimos' penchant for weaving subtle nuances into his visuals.In his earlier films, Lanthimos preferred a tone of plain and dull colors, adding to the surreal and dark themes often associated with his works. However, in his later films, we can observea blend of this earlier preference with the use of bold colors to provide realism to his eccentric worlds.InPoor Thingsparticularly, he begins with a black and white hue, which gradually transitions into a colorful palette as Emma Stone’s Bella moves from the dull, opulent laboratory cage to explore the much bigger and colorful real world. InThe Favourite, he is all about the bold colors of the royalty in the era the film is set, with a beautiful production design and costume choices for his lead characters.
Yorgos Lanthimos' Films Embrace Sexuality and Show Extreme Violence
One hallmark of Lanthimos' films is theirunapologetic exploration of sexuality. FromDogtooth, where the three children’s dictatorial father ironically pays a factory security guard to pleasure his son, toPoor Things, in which Bella discovers her own sexual pleasure, andThe Favourite, featuring queer relationships, Lanthimos' films boldly celebrate the diversity of human sexuality.Nudity is a common motif, with Lanthimos presenting human sexuality as just another biological phenomenon, embraced by his characters with ease, even when they hold differing views.
Another defining aspect of Lanthimos' films is their portrayal of violence.Unlike Quentin Tarantino, who often stylizes violencefor aesthetic spectacle, Lanthimos' approach is detached, absurd, and unfolds with deadpan delivery. Lanthimos focuses on the act itself, devoid of emotional response, which can be alienating for viewers. InThe Lobster, the opening scene has a cow being shot at for no apparent reason, which sets the tone for the rest of the film. InDogtooth, one of the children slices a cat with pruning shears, and in another scene, the father unexpectedly hits his daughter with a duct-taped VHS tape, which illustrates Lanthimos' approach to violence.
InDogtooth, we see Lanthimos' blueprint for his bold and provocative directing. It is no wonder the film earned an Academy Award nomination, recognizing his unique talents that continue to mesmerize audiences. To fully appreciate Lanthimos' directorial journey,Dogtoothis a must-see film, and one that you won’t regret.
