Showing posts with label Colin Farrell. Show all posts
Showing posts with label Colin Farrell. Show all posts

Monday, January 7, 2019

THE KILLING OF A SACRED DEER / CACHE

Confrontation in Cache (L) & The Killing Of A Sacred Deer (R)

Much has already been said about The Killing Of Sacred Deer so there’s really no reason to put another “review” of it out in to the universe. We get it. We all know it’s one of – if not the – best films of 2017. What I’d like to delve in to are the strong similarities it shares with another great film in the form of Cache (probably the best film of 2005 as far as I’m concerned)…

In my opinion, The Killing Of A Sacred Deer is essentially Haneke’s Cache without the socially conscious/historical/racial angle. Plus, it’s darkly comical whereas Cache isn’t funny at all. But even with those differences – the films are still similar in the same way that Passolini’s Teorema is to Ozon’s Sitcom. Sitcom is a  loose remake of Teorema. Ozon made quite a few obvious changes like using a rat as the Trojan horse instead of Terrence Stamp (Teorema), but the basic story remains the same in Sitcom.
Actually, all four films (Teorema, Sitcom, Cache & The Killing Of A Sacred Deer) are cut from the same cloth in that they’re all about an outside entity bringing a family’s skeletons & dirty secrets out in to the open. 

In Sacred Deer, Yorgos Lanthimos focused on the part of the story that involves the loss of a father. Fatherhood is a huge part of both Cache & Sacred Deer (there’s also a sub-plot involving class as the two opposing families in each movie are on opposite ends of the class spectrum). For those of you that haven’t seen Sacred Deer – Martin (Barry Keoghan)’s father died on the operating table at the hands of Dr. Steven Murphy (Colin Farrell), and is seeking revenge because he feels Steven is responsible for his father’s death. In Cache, Majid's son (this character isn’t given a name in the credits) is seeking a similar form of revenge. Majid's son blames George - his father’s former foster brother - for his father’s hard life. True – Majid's son (Cache) grew up with his father, while Martin’s father died prior to the events in Sacred Deer, but midway in to Cache *SPOILER* Majid takes his own life (something that is also hung over George’s head).

From a visual/thematic standpoint - the similarities are un-debatable...

Both film have a very similar father/son relationship (the sons in both films even look alike)
Cache / The Killing Of A Sacred Deer

There’s an underlying theme of; “attack on the upper class”. Early on in both movies we get the happy families sitting around the dinner table. This is the last time we see both families happy & undisturbed...
Cache / The Killing Of A Sacred Deer

As we've already established - both Martin (Sacred Deer) and Majid's son (Cache) are motivated by revenge...
Cache / The Killing Of A Sacred Deer

The “antagonist” son characters use the protagonist’s children as pawns to put their plans in to play…
Cache / The Killing Of A Sacred Deer

The “protagonist” keeps important secrets from his wife that comes back to bite him in the ass…
Cache / The Killing Of A Sacred Deer

There's a weird relationship between the protagonist’s wife and his close (male) friend…
Cache / The Killing Of A Sacred Deer

Similar spurts of self-inflicted violence…
Cache / The Killing Of A Sacred Deer

Throughout the film you question the morality of the main character/"protagonist"
Cache / The Killing Of A Sacred Deer


Both films end somewhat open & unresolved…
Cache / The Killing Of A Sacred Deer


There are also indescribable comparisons that can be made in that the overall tone/ambiance in both films are incredibly similar (the exception being that Cache doesn't have any funny moments). It should be noted that when Yorgos Lanthimos exploded on the scene with Dogtooth, he was compared to Haneke quite a bit.


Perhaps I have too much time on my hands or perhaps I'm on to something with this comparison. What do you all think?

Wednesday, November 22, 2017

ZEBRAS IN AMERICA EPISODE 34!


After a week off we're back in full force! On latest episode of Zebras Scott does an impromptu live performance from his home studio then we talk about one of the best movies of 2017.

Enjoy...

Sunday, January 15, 2017

THE CINEMA OF YORGOS LANTHIMOS TOLD THROUGH MOVING IMAGES & STILLS




For the last couple of years Greece has produced some of the most unique, surreal, dark, deadpan, quirky comedies committed to celluloid and Yorgos Lanthimos has been at the helm of this movement. Sure his films aren't for everyone but he's managed to grow his audience with each film without having to compromise his unique style.

My favorite aspect about Yorgos Lanthimos' work is that there's a continuous thread that connects all of his stories. A while back at a Q&A I asked Lanthimos if he looked at The Lobster as an extension of Alps (I feel like both stories exist in the same cinematic universe). While he doesn't share my spectrum-brained fascination with connecting every movie in existence, he did acknowledge that there are quite a few similarities between both films. But this has been a theme in his feature length work since day one...
If you’re willing to get past the look of Kinetta - his often overlooked feature film debut - you’ll see that it literally planted the seeds for all the recent stuff we know & love like Dogtooth, Alps & The Lobster
It is my opinion that Kinetta, Dogtooth, Alps & The Lobster all take place in the same universe. I wouldn’t be surprised if some of the characters from Kinetta knew some of the characters from AlpsKinetta also has very little dialogue. For those of you who haven’t noticed (or are only familiar with The Lobster) minimal/spaced out dialogue is a common characteristic of Lanthimos’ pre-Lobster work. Both Dogtooth & Alps contain a lot of empty space as far as talking goes when compared to "conventional movies". Loneliness (The Lobster), identity (Alps & Dogtooth), awkward dryness (Lobster, Alps & Dogtooth) and deadpan expressionism (Lobster, Alps & Dogtooth) are embedded in to the fabric of Kinetta. Even the basic plot of Alps sounds like a light reworking of the plot to Kinetta. So while he continues to grow with each movie, everything is kind of rooted in his early work.


Not only does Yorgos Lanthimos have a unique sense of humor and a talent for tying all of his films together, but he also has a serious/borderline socially conscious side. His work sometimes dispels some of the myths that outsiders have of his homeland of Greece (we see a lot of his characters as unhappy servants). I’ve never been to Greece but I’m sure it’s beautiful. I’m sure some places are like paradise on earth based on some of the pictures I’ve seen. But (some) outsiders have this romanticized vision of Greece as if it’s one big vacation getaway (same with places like Nevada, Hawaii and even Florida to a smaller extent). Films like Kinetta, Alps and Yorgos' student films show a side of Greece that most people aren't used to seeing.


So now that Yorgos Lanthimos has become a successful academy award (Dogtooth) & golden globe (The Lobster) nominated filmmaker, lets take a look at this entire body of work.

enjoy...

Although Yorgos did not direct Attenberg, he still produced & co-starred in it so I'm including it in this entry.




IDENTITY
People in Yorgos Lanthimos' cinematic universe are usually never satisfied with their real lives or who they are as people so they're always looking for some kind of escape or to take on the persona/identity of someone else (momentarily or permanently).
The characters in Kinetta are bored with their lives of servitude so they decide to reenact fake murders for entertainment. The entire plot to Alps concerns a group of adults who take on the identities of other people and more than a few of the key figures in The Lobster get in to trouble for lying about who/what they really are. This is always highlighted in an introspective scene of someone reevaluating things in front of a mirror...
Dogtooth
Kinetta
Alps
The Lobster




RECURRING SHOTS, THEMES & SETTINGS

At a quick glance, these are the core elements that make Yorgos Lanthimos' films his own without needing much explanation...

AWKWARD/GOOFY DANCING
Dogtooth
Attenberg (Dir. Athina Rachel Tsangari)
Alps
The Lobster

WATER
Alps
Dogtooth
Kinetta
The Lobster
My Best Friend

INTIMATE MOMENTS WITH MUSIC
Dogtooth
Kinetta
The Lobster
The Killing Of A Sacred Deer


DEADPAN EXPRESSIONISM
The Lobster
Kinetta
Attenberg
Alps
Dogtooth
Future Reloaded
The Killing Of A Sacred Deer
The Killing Of A Sacred Deer


COMMON SHOTS/SELF REFERENCES...
Dogtooth (top)/The Lobster (below)
The Favourite


Alps
Kinetta
Dogtooth





POSSIBLE INFLUENCES & REFERENCES...
Alps/Enter The Dragon
Kinetta/The Red Desert
Dogtooth/Heavenly Creatures
Dogtooth/se7en
Dogtooth/Sitcom
Alps/Boy Meets Girl
The Lobster/Solaris
The Killing Of A Sacred Deer
Barry Lyndon / The Favourite



SPURTS OF VIOLENCE
You can always count on random and/or isolated unexpected explosions of violence that are sometimes tragic & horrifying, hilarious or a combination of all of those things...
Baby Asteroid (Leon Of Athens Music Video)
The Lobster
The Lobster
The Lobster
The Lobster
Dogtooth
Dogtooth
Kinetta
Alps
Uranisco Disco
Future Reloaded
The Favourite




DARK/QUIRKY HUMOR 
Like Todd Solondz (a director I am convinced had an influence on Yorgos no matter how many people disagree), you sometimes find yourself questioning if you should be laughing at the actions, storylines & isolated violent moments in these movies. On paper, a lot of the shit that he presents to his audience should not be funny... but it kind of is (animal murder, incest, violence against women, death, etc).
Dogtooth
Attenberg
Alps
The Lobster
Future Reloaded
The Killing Of A Sacred Deer
The Favourite




SEXUALITY & PERVERSIONS
An extension of that dark quirky dry humor is the handling of all things concerning sex. Besides the aforementioned theme of humorous incest (Dogtooth & Alps), Yorgos Lanthimos is big in to teasing (in The Lobster we see Ariane Labed arouse Colin Ferrell to the point where he almost reaches climax then she stops), shaming (in the same film, masturbation is forbidden and if you're caught masturbating you're punished), and awkward dialogue during sex (Alps & Dogtooth).
Baby Asteroid (Leon Of Athens Music Video)
Kinetta
Dogtooth
Dogtooth
Alps
Alps
Alps
Attenberg
Attenberg
The Lobster
The Killing Of A Sacred Deer




THE NAKED (AND SOMETIMES AWKWARD) HUMAN BODY
In addition to sex, Yorgos Lanthimos doesn't shy away from showing the naked/almost naked human body in all shapes & sizes...
Attenberg
Dogtooth
Baby Asteroid (Leon Of Athens Music Video)
Alps
Alps
The Lobster
Uranisco Disco
The Killing Of A Sacred Deer




FAMILIES & SURROGATE FAMILIES
Although introversion & self reflection are fairly common elements in the world of Yorgos Lanthimos, rarely do we see characters exist or even live alone (his most famous/known work is a family dramedy). And even when these characters do live alone, like in the case of Alps, they still belong to some kind of collective/non-blood related group (Kinetta) or borderline cult (The Lobster)...
Dogtooth
The Lobster
Alps
The Killing Of A Sacred Deer


and these families always have a “leader”/”overseer” that rules with a tight fist...

LEADERS/OVERSEERS
Dogtooth
The Lobster
Alps




OPEN ENDINGS...
Yorgos Lanthimos' films wouldn't be what they are if he didn't leave us hanging. The fate of Ferrell & Weisz at the end of The Lobster looks rather grim but it still isn't fully spelled out for us. The same applies to the main character in Alps. Sure we know she's gone off the rails but where will she go now that she's been kicked out of her group. And what will happen if/when the father in Dogtooth finds his daughter hiding in the trunk of his car?
Dogtooth
Alps
Future Reloaded
The Lobster
The Killing Of A Sacred Deer

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