Yorgos Lanthimos has emerged as one of the most distinctive directors this century, directing beautifully shot and emotionally charged films that have both intrigued audiences and garnered critical acclaim, including his most recent film, “Bugonia.”
Lanthimos, who was born in Greece, began his career in experimental theater. His first film, “My Best Friend” was the product of a co-directorship with his colleague, Lakis Lazopoulos in 2001. “My Best Friend” was largely a Greek-made film for Greek audiences, and did not see significant distribution in the American market. “Kinetta” came in 2005, and was his first solo directorship. In 2009 Lanthimos’ public profile rose significantly with the release of “Dogtooth.” The film won an award at Cannes and was then nominated for an Academy Award for Best Foreign Language Film.
His first English-language film was released in 2015. “The Lobster”, a dark comedy, received a nomination for Best Original Screenplay at the next Academy Awards. Since then, he’s directed a series of films, including “The Killing of a Sacred Deer”, “The Favourite”, “Poor Things”, “Kinds of Kindness”, and “Bugonia.”
While Lanthimos’ films span several genres – from comedy to psychological thrillers to dramas – his films carry several trademarks that make the films uniquely his. Here we break down those commonalities:
THE INTERSECTION OF ABSURDISM AND REALISM
While some may consider Lanthimos’ point of view as purely absurdist, a deeper look into his films reveals absurdist stories rooted in realism. Consider “The Lobster”, starring Rachel Weisz and Colin Farrell. While the premise for the film may seem bizarre and unlikely – single people are given a short period of time to find a mate or they will be turned into an animal of their choice – the film considers the social pressures and challenges of modern-day relationships. While the risk of becoming an animal and living in the woods might seem absurd, it is rooted in the very real and enduring consequences that failing to couple up in our society can bring – social exclusion, economic challenges, and more.
In “Bugonia”, Emma Stone plays a powerful pharmaceutical CEO who is kidnapped by Teddy (Jesse Plemons) and Don (Aidan Delbis). They believe she is an alien bent on destroying the world. In the same fashion as “The Lobster”, the plot is stretched to absurdist limits, yet the parallels to modern-day society make it seem more and more plausible. The rise of conspiracy theorists, coupled with the ever-increasing gap between the executive and working class, offers a clear parallel to the possibilities of the “have nots” rising up against the rich and powerful in ways that upend the system.
THEMES OF POWER AND CONTROL
Several of Lanthimos’ films center around themes of control, and how power is cultivated, managed, and co-opted. Co-written with Efthimis Filippou, “Dogtooth” tells the story of an intensely isolated family. The parents continue providing for their adult children, all the while refusing to allow them any knowledge of the external world, believing they must shed their “dogtooth” before they can be on their own. Neither of the three children has any experience beyond the inside of their own home, and the parents assert control and consistent dominance by creating and maintaining imaginary threats.
“The Favourite” looks at power and control as well, but in a very different context and through a different lens. Set in the 18th century, the film centers on two cousins (Weisz and Stone) as they try to outdo one another to curry favor from Queen Anne (Olivia Colman.) Colman has inherited and institutional power – enough to ensure the happiness and safety of those closest to her. This was a necessity in the 18th century for young women, yet Stone and Weisz develop new and compelling ways to exert power and control over Colman, capitalizing upon her vulnerabilities to stay in her favor.
VIBRANT SYMBOLISM
The use of symbolism is a key part of many of Lanthimos’ films. In “Bugonia” Teddy is overpowered with grief over the loss of the honeybee population, and blames the insect’s dwindling numbers on big corporations. While the loss of honeybees in itself is an important factor in preserving any natural ecosystem, in this film the honeybees represent something more – the working class. Teddy sees himself in the honeybees, having worked tirelessly and relentlessly in the factory for a powerful overlord, only to see his own status and wealth remain the same while Stone prospers as the Queen Bee.
Similarly, “The Killing of a Sacred Deer” follows a young doctor (Farrell) who befriends a teenager (Barry Keoghan), following the death of his father on the operating table. But when Keoghan’s character unleashes a curse on Farrell and his family, Farrell must sacrifice one of them to save the rest. The deer symbolizes purity and innocence as Farrell must consider who among his family he must kill.
Lanthimos has created and cultivated his voice as a director and made some of the most thought-provoking films in the world. If you’re interested in learning more about directing, and discovering and nurturing your directorial point of view, consider applying to our new Script to Screen Program!
APPLY TO OUR SCRIPT TO SCREEN PROGRAM
Script to Screen is a 9 week directors initiative for writers with a desire to master the craft of directing. Participants will gain a complete understanding of how every choice a director makes shapes the story. From framing a shot to guiding performances; pacing a scene to crafting the emotional rhythm of a film. With the support of award-winning filmmakers, participants will gain insight into the collaborative process, learn to think visually, and discover how to translate the nuances of dialogue, character, and theme into cinematic moments that resonate on screen.
Script to Screen will provide a hands-on opportunity to explore the full journey of storytelling. 8 Winners will take part in our career-changing Script to Screen Directing Initiative. With weekly sessions with Industry Leaders as well as prep calls and support from the Shore Scripts staff, each session in this unique 9 week program will cover distinct subject matters to help writers learn the craft and gain the confidence to direct.
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After 15 years of working in state and national politics, Sarah Chaisson-Warner is moving into the entertainment industry. As the former Founder and Editor-in-Chief of Athena Magazine for Girls, Sarah is now focusing her passion for creative arts through screenwriting. Many of her feature-length scripts focus on the often unseen experiences of gay women throughout American History, and she is also currently writing a sci-fi TV series and a family Christmas script.
