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The Lobster (2015)

1:35 | Trailer
In a dystopian near future, single people, according to the laws of The City, are taken to The Hotel, where they are obliged to find a romantic partner in forty-five days or are transformed into beasts and sent off into The Woods.


Yorgos Lanthimos


Yorgos Lanthimos, Efthymis Filippou (as Efthimis Filippou)
452 ( 132)
Nominated for 1 Oscar. Another 33 wins & 74 nominations. See more awards »



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Cast overview, first billed only:
Jacqueline Abrahams ... Donkey Shooter
Roger Ashton-Griffiths ... Doctor
Jessica Barden ... Nosebleed Woman
Olivia Colman ... Hotel Manager
Anthony Dougall Anthony Dougall ... 70 Year Old Waiter
Sean Duggan ... Guard Waiter
Colin Farrell ... David
Roland Ferrandi ... Loner Leader's Father
James Finnegan James Finnegan ... Bald Man
Robert Heaney Robert Heaney ... Restaurant Waiter
Rosanna Hoult ... David's Wife
Jaro Jaro ... Bob the Dog
Ryac Ryac ... Bob the Dog
Ashley Jensen ... Biscuit Woman
Kathy Kelly Kathy Kelly ... Police Officer 1


A love story set in a dystopian near future where single people are arrested and transferred to a creepy hotel. There they are obliged to find a matching mate in 45 days. If they fail, they are transformed into an animal and released into the woods. Written by R. Byma

Plot Summary | Plot Synopsis


An unconventional love story by Yorgos Lanthimos.

Motion Picture Rating (MPAA)

Rated R for sexual content including dialogue, and some violence | See all certifications »

Parents Guide:

View content advisory »



Ireland | UK | Greece | France | Netherlands


English | French | Greek

Release Date:

16 October 2015 (Ireland) See more »

Also Known As:

The Lobster See more »

Filming Locations:

County Kerry, Ireland See more »


Box Office


EUR4,000,000 (estimated)

Opening Weekend USA:

$190,252, 15 May 2016

Gross USA:


Cumulative Worldwide Gross:

See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs


Sound Mix:

D-Cinema 48kHz 5.1



Aspect Ratio:

1.85 : 1
See full technical specs »

Did You Know?


A24 is best known for their films Lady Bird, Moonlight, The Florida Project, The Disaster Artist, The Lobster, The Witch, and Ex Machina. See more »


During the opening scene, the camera operator can be seen adjusting the lens in the reflection of the drivers door window. See more »


Hotel Manager: Now have you thought of what animal you'd like to be if you end up alone?
David: Yes. A lobster.
Hotel Manager: Why a lobster?
David: Because lobsters live for over one hundred years, are blue-blooded like aristocrats, and stay fertile all their lives. I also like the sea very much.
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3 Pieces for String Quartet No. 3
Composed by Igor Stravinsky
Permission of Boosey & Hawkes, an Imagem Company
Performed by Goldner String Quartet
Courtesy of Naxos Rights US Inc
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Frequently Asked Questions

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User Reviews

A gifted cast wasted on a tedious exercise in pseudointellectual cinematic self-indulgence
24 February 2016 | by ginocox-206-336968See all my reviews

"The Lobster" has a stellar cast of talented actors and a refreshing lack of jiggly-cam shots. The shots are carefully composed, even when there isn't much of interest on the screen.

Some reviewers consider the film a brilliant absurdist parody. I do not share their enthusiasm. Guy Lodge at Variety loved the film and gave it a glowing review. I'm sure he knows a lot more about the theory of film than I do. I'm just a guy who doesn't know much about Dramatica theory or monomyths, but I know what I like.

I found the film slow paced, tedious, overly long, hopelessly contrived, vapid, self-indulgent and decidedly not funny, amusing, compelling or thought-provoking. The characters are so aggressively uninteresting to each other and to the audience, so apathetic and so disinclined to any sort of sexual pursuit beyond masturbation, that one is amazed the society doesn't simply die out and by the end of the film, one wishes the characters would hurry up and do so.

The filmmakers seem to have the notion that if they simply multiply everything by negative one, reverse polarities and turn everything black to white and vice versa, that they will have a cohesive dystopian society. What we get instead is a group of characters without motives.

They have motives in close-up in their daily decisions, which usually default to doing nothing differently from the day before. David has a cohesive rationale for wanting to become a lobster if he doesn't find a soul mate, but seems disinclined to apply those same motives to his life as a human.

But nothing makes sense in the grander scheme. In dystopian films, usually the dysfunctional society is thrust upon the citizens through war, famine, pestilence, invasive vampires or some other external force. Often it is a consequence of a totalitarian government run amok, as in "Fahrenheit 451," "1984" or "The Hunger Games." But the government has some sort of rationale for what they do, which usually involves perpetuating their rule. In "Bananas," when Woody Allen's character assumed power in San Marcos and declared that henceforth the national language of the Latin American nation would be Swedish, it was absurd in a funny way. Here, the absurdity is created for the sake of absurdity and seems contrived.

If one take the time to deconstruct the film, as Lodge did, and wonder why the characters are so obsessed with finding partners who share some inconsequential physical flaw and decide that the filmmakers are parodying our tendency to seek out and identify with people who share some inconsequential interest, ability or flaw, and if you agree with the filmmakers that this is one of our defining traits, it may seem brilliantly insightful. But audience members who don't happen to share the filmmakers' cynical insights may be less enthused.

In "Defiance," a group of Jews found refuge in the forest and soon built an elaborate, if rustic, habitation. Here a group takes refuge in the woods and never builds anything beyond digging their own graves. The actions of the ophthalmologic surgeon in contravention of the Hippocratic Oath are incomprehensible. One character is described as having absolutely no feelings, but demonstrates suspicion, anger, rage and self-congratulation. The manner in which close friends affirmed, repudiated or betrayed their friendships had little rhyme, reason or consistency.

The plot device of changing people into animals is taken quite seriously by the characters. Apparently it is such a simple procedure that anybody can do it, even without training and even out in the forest without any laboratory equipment. And yet we never see it. I fully expected it to be either a big lie, as in "Logan's Run," or a hideous reality, as in "Tusk." Instead, it was frequently referenced, but never really brought into play.

In the end, I'm not at all certain what the filmmakers wanted to say. Given a group of unbelievable and largely unsympathetic characters existing in an unbelievable dystopian society who engage in actions without any credible motives, it's not clear what lesson we are expected to learn about our own lives.

The film offers a few cringe-worthy moments, but no laughs and no brilliant insights into human nature, society or courtship. It features a cast of talented, versatile and wonderfully expressive actors doing their best to display no emotion.

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