No one makes «em like Yorgos Lanthimos, the Greek auteur / comedic sadist responsible for such cinephelic gems
as Dogtooth and The Lobster.
As Dogtooth's carefully cultivated fictional world begins to unravel, the fallout accelerates too fast for anyone on screen to cope.
behind such deranged provocations
as Dogtooth and The Lobster, might start softening his blows.
Not exact matches
The
dogtooth print is surprisingly versatile,
as it can be worn in a relaxed and causal way, but also can be smart enough to wear to the office.
After
Dogtooth and The Lobster, I will see anything that has this man's name attached to it, especially
as a writer / director.
«
Dogtooth» involved a family sequestered by a perverse father, and «Alps» explored grief with a bizarre story of amateur actors who rent themselves to families
as surrogates for the recently deceased.
As his English - language debut and first time working with Hollywood actors, The Lobster marks the beginning of a new chapter for Yorgos, whose previous films (My Best Friend, Kinetta, the Academy Award — nominated
Dogtooth, and Alps) were each made in Greece on an extremely modest budget with a crew made up of Yorgos's friends.
The Killing Of A Sacred Deer doesn't have
as sharp an allegorical edge
as his best work — it's no
Dogtooth in that respect — but it does find the director honing his command of unnerving atmosphere to a razor point, enhanced by a camera that glides menacingly down hospital corridors and gazes from above with the severity of a merciless god.
Such is the message we seem to be gleaning from the cinema of 2009,
as a vast range of unrelated titles — «Precious,» «Coraline,» «
Dogtooth,» «Antichrist,» «Fish Tank,» even «An Education» — appear united in visiting the physical and / or psychological -LSB-...]
And while the film throws some shadows reminiscent of recent Greek «Weird Wave» cinema (Papoulia also starred in Yorgos Lanthimos's
Dogtooth and Alps), such
as its unhinged, barking mad, and eyeball - rolling style of acting, this is a bigger, bolder, and angrier work.
From the Greek filmmakers behind the acclaimed anti-thriller
Dogtooth, this fiendishly inventive drama is just
as complex and telling.
How to see it: The Battle of Algiers is currently available on Filmstruck
as part of a special Academy Award collection on winners of and nominees for Best Foreign Language Film, from Mon Oncle to Rashomon to
Dogtooth.
Kirsten Dunst is about to get weird,
as Deadline reports that the Spider - Man and Fargo star has signed on for a new TV series from Yorgos Lanthimos, director of
Dogtooth and The Lobster.
Like
Dogtooth, this film is an fascinating look at who we are
as a society.
Given that participants included Brett Ratner and Denis Villeneuve, the range of movies cited was
as wide
as you might expect (any guesses who picked The Hangover and who picked
Dogtooth?).
The director of the Cannes hits «
Dogtooth» and «The Lobster» brings a new movie, «The Killing of a Sacred Deer,» with a plot described
as «a surgeon forms a familial bond with a sinister teenage boy with disastrous results.»
Most of the top 10 films of the year I barely read much of anything about them:
Dogtooth, The Ghost Writer, Mother, Nowhere Boy, etc... and they probably benefited from that
as well
as there wasn't major publicity campaigns about their masterpiece mantle status.
«Alps «
As extraordinary a film as Georgos Lanthimos «debut «Dogtooth» was, there was something about its Fritzl - ish premise that seemed like it was riding the zeitgeist (even if it marched firmly to the beat of its own drum), and I wondered how the director would fare with something that felt less ripped from the headline
As extraordinary a film
as Georgos Lanthimos «debut «Dogtooth» was, there was something about its Fritzl - ish premise that seemed like it was riding the zeitgeist (even if it marched firmly to the beat of its own drum), and I wondered how the director would fare with something that felt less ripped from the headline
as Georgos Lanthimos «debut «
Dogtooth» was, there was something about its Fritzl - ish premise that seemed like it was riding the zeitgeist (even if it marched firmly to the beat of its own drum), and I wondered how the director would fare with something that felt less ripped from the headlines.
Somewhat of an infamous film on the festival circuit for the last year and change, Yorgos Lanthimos» satire
Dogtooth is hyped
as weird, transgressive, darkly funny and gorgeous to boot.
As unforgettable as it is unshakable, the fifth film from Greek filmmaker Yorgos Lanthimos (Dogtooth, The Lobster), The Killing of a Sacred Deer, is an unsettling and transgressive domestic odyssey that astounds with its unrelenting menace and imaginative fluenc
As unforgettable
as it is unshakable, the fifth film from Greek filmmaker Yorgos Lanthimos (Dogtooth, The Lobster), The Killing of a Sacred Deer, is an unsettling and transgressive domestic odyssey that astounds with its unrelenting menace and imaginative fluenc
as it is unshakable, the fifth film from Greek filmmaker Yorgos Lanthimos (
Dogtooth, The Lobster), The Killing of a Sacred Deer, is an unsettling and transgressive domestic odyssey that astounds with its unrelenting menace and imaginative fluency.
He stars in
Dogtooth director Yorgos Lanthimos» The Lobster,
as a man on a rather peculiar dating retreat.
As in the director's breakthrough,
Dogtooth, and his English - language debut, The Lobster, the real subject is the twisted logic of relationships, obligations, and social façades, caricatured through the director's distinctive blend of grotesquerie, surreal deadpan, and alienness.
The filmmaker who hit with the equally strange comedy,
Dogtooth, returns to bring yet another dry and somewhat surreal comedy that may just have you cringing in your seat
as much
as it has you rolling.
Tsangari is also known
as producer of Yorgos Lanthimos's films (Kinetta,
Dogtooth, Alps), which have tended to deal with similar themes.
Disappointingly, Yorgos Lanthimos» latest isn't nearly
as densely packed with ideas
as The Lobster or
Dogtooth were — but the bone dry humour of the film comes close to making up for that.
On paper, I'm perhaps most intrigued by Andrea Arnold's reportedly revisionist take on Emily Brontë and whatever beautiful insanity Lanthimos has dreamed up to follow «
Dogtooth» — but I'm just
as eager for the punches I can't see coming.
The Lobster — Greek director Yorgos Lanthimos» (
Dogtooth) English - language debut is every bit
as bizarre and unpredictable
as I hoped it would be.
As wry Greek hellraiser Yorgos Lanthimos has gotten settled in Hollywood, he's embraced genre in a way that his unclassifiable
Dogtooth and Alps resisted.
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