The film again proves that Lanthimos is a skilled director of blunt strangeness and surreality.
After winning his second DGA award last night, there’s no reason to believe that Cuarón won’t complete the hat trick at the Oscars.
The film’s florid screenplay affords Yorgos Lanthimos ample opportunity to assert his idiosyncratic worldview.
The latest from Yorgos Lanthimos, The Favourite, takes us to the early 18th century, when England and France are at war.
The characters’ emotional vacancy feels like another auteurist tic to which Lanthimos is dauntlessly committed.
A blackly comic performance by Colin Farrell provides the emotional anchor for Yorgos Lanthimos’s film.
As intelligent, often hilarious, and occasionally insightful as it is, it aslo shows a filmmaker’s style hardening into shtick.
Lanthimos’s films live and die by their concepts—or gimmicks, depending on your outlook.
Alps significantly improves (or at least expands) on the surrealist exercises of Dogtooth.
Alps finds Yorgos Lanthimos building on Dogtooth’s surreally terse style and notions of communication and identity.
A Golden Novak Djokavic, in recognition of otherworldly improvement in 2011, goes to Yorgos Lanthimos for Alps.
Curling is a psychological study that refuses to go deeper than what the naked eye can detect.
Athina Rachel Tsangari’s Attenberg is a boldly conceived assemblage of diverse and seemingly random fictional materials.
Kino didn’t include that many extras, but the ones they did include are rather good boilerplate features.
Dogtooth unnerves with a rigorous focus and technical dexterity that’s apt to stun and amaze.