I definitely would not have had the opportunity to meet her without Society W’s introduction.
Wendy is very supportive and passionate about finding appropriate matches, but more importantly she takes the time to understand what you are looking for in a potential lifetime partner.
As in Lanthimos’ other features, it’s only once the complex (yet firmly cemented) rules of his narrative universe become clear that his characters’ actions accrue practical and psychological reason; “The Lobster” is a film in which nearly every scene requires bookmarking, to be intuitively cross-referenced at a later point.
The stark, arresting pre-credits opener sees an unidentified woman (Jacqueline Abrahams) drive agitatedly through a stretch of soggy countryside, stopping abruptly to shoot a donkey in a field before moving on.
I was fairly hesitant about joining a dating service as it had been so long since I had gone on a proper date, but Society W made my first introduction incredibly easy with a relaxed and informal meet-up.
With over 15 million registered users, we are confident in our ability to do so.
Yet the powers that be have taken a somewhat more regimented approach to the latter institution, by which single folk are actively punished for their failure to pair up.
Restricted to the rural outskirts of a damp, unnamed city, they are literally hunted down by other unattached prisoners of the Hotel, an aggressively beige institution where inmates are given 45 days to find a mate within their ranks — or be turned into an animal of their choosing and released into the wild.
Longevity and lifelong fertility are among the reasons why a human may wish to become the eponymous creature, explains Colin Farrell’s protagonist at the outset of “The Lobster.” The tasty crustacean’s rich associations with the Surrealist movement appear to have slipped his mind, but not that of Greek writer-director Yorgos Lanthimos, whose supremely singular fifth feature — his first in English — takes his ongoing fascination with artificially constructed community to its dizziest, most Bunuelian extreme to date.
A wickedly funny protest against societal preference for nuclear coupledom that escalates, by its own sly logic, into a love story of profound tenderness and originality, this ingenious lo-fi fantasy will delight those who already thrilled to Lanthimos’ vision in “Alps” and the Oscar-nominated “Dogtooth,” while a starry international cast should draw as-yet-unconverted arthouse auds into his wondrously warped world.