The aesthetic approach is faultless; the balance between deadpan farce & brutal perversion perfectly judged. The satire on domestic abuse as metaphor for some socio-political commentary seems only more relevant in our post-truth era of fear-mongering & alternative facts, & like the similar thematic concerns of Shyamalan's The Village, holds a black mirror to the face of the modern-world. A staggeringly original work.
I was a bit disappointed in this. Everyone kept telling me how this film was immensely disturbing and obscure. Not disturbing so much as painstakingly dull. The ending, as with much of the film, leaves much to be desired.
Disturbed people in pastel shades. A society satire dealing with the subjects of reality and family education, with absurd situations that may makes us laugh, but we can't help but choke on our laughter as disturbance becomes too serious to be funny.
Lanthimos satirises overprotective parents who 'keep things in the family' in this deeply unsettling and subversive take on sheltered and isolated post-adolescents that are indoctrinated into an abusive life that includes incestual relations, violence and an obscure prohibition on the normalities of life. Think Ozon, think Solondz, think Haneke.
A very strong parable about living in a closed and perverted society. It's striking how often Lanthimos shows the persons beheaded by the frame of the picture, symbolising the damage and loss of individual personality.
Far too saturated in that kind of ultra self-conscious, quirky, wink-wink, Wes Anderson-esque style that has so come to dominate mainstream art-cinema. Full review: http://cinephiledreams.blogspot.com/2013/11/dogtooth-2009.html
Maybe too conspicuous in its determinism, but still an unsettling, discomforting and ironically aseptic flick. Haneke-ish, yet with its own identity, voice and charm. Very good choices in its construction too: strong lighting, slow pacing, unusual frameworks and slightly dark humor (that "Fly Me to the Moon" scene is priceless). Loved the fuck out of it. ~Mom, what is a "cunt"?
Many of the issues I have with Haneke are brought to mind here, but what elevate Dogtooth are the moments of sheer joy and levity brought on by something as simple as reciting dialogue from Jaws or Rocky. The world that the Father has created for his family is a fascist re-imagining of bourgeois normality, but there is still hope in Lanthimos's vision that a more powerful image still might puncture this sick façade.