Why was this billed as a "Drama" and not Horror? This seems to only happen with arthouse-horror; are distributors afraid that arthouse audiences won't go to it if they know what it really is? I HATE being tricked into seeing a horror film. People bleeding from the eyeballs & forced to be killed by a parent due to a weirdo stalker with supernatural powers IS a Horror Film. I'm not watching any more films by Lanthimos.
fucked up. it makes me think about how abuse is normalized in families that act like everything is fine// the caustic/ sedate dialogue reads to me as his take on domesticity...however i wonder about the ethics of this and whether or not child actors should be involved in this message. i can't imagine it wouldn't be traumatic for these kids, but who knows. yorgos, who hurt you?
I appreciated its stomach-twistingly ominous atmosphere, but this is a relatively empty and sadistic film with unconvincing attempts at greater depth (referencing Greek mythology, Bach, Kubrick, etc. for little purpose) and some misguided attempts at dark humor.
A good deal less than the sum of its somewhat slavishly assembled parts--eyes not only shut but shining so widely that Ligeti broods us down its sprawling hospital's carpeted hallways--Lanthimos' disappointing latest enacts a dimly gimmicky variation on Hanekean games, and suggests that The Lobster was either a fluke or saved by Rachel Weisz. Or both.
Kidman as the mother was the most intriguing character to me... she apparently wasn't affected by the 'curse', she wouldn't sacrifice herself to save her kids, slapped them around sometimes, emasculated her doctor husband... just savage! Lanthimos didn't take me into another surreal universe but created a woken nightmare that grabbed my attention until the very last second.
Lanthimos and Filippou's pitch black script gives us a clinical and cold horror film mixed with the darkest of Greek tragedy that results in a mesmerizing film that tries one's patience getting to its eventual outcome. Casting is spot on with Farrell and Kidman both excelling and young Raffey Cassidy making a very strong impression.
Digital, 0. This is very, very, very(...), pretentious, fake and unbearable. Perhaps it can be justified by the brief moment in which the pale Australian star is seen wanking off in a car with that queasy face that she never lost- which for the "daring" Lanthimos must have been the film's punctum, if not, it was for me. The rest is immensely laughable- or nauseating, according. Now i'm ready for Aronofsky's last.
If I want to watch Pasolini, I'll watch Pasolini. If Haneke, I'll watch Haneke. Bit disappointing, but the tracking shots were lovely, especially those low and high angles that looked like they came directly from an 80s slasher movie.