By Jake Howell



The Killing of a Sacred Deer is Yorgos Lanthimos’ grandest achievement yet, a huge film in so many ways. But that vastness coud prove insurmountable by those turned off by the bite of Dogtooth or snap of The Lobster.

For those who embraced those beasts with bloodied arms, this A24 film is also the most accessible film by Lanthimos and his regular co-writer Efthymis Filippou. Squeamish be damned: his follow-up Competition bow begins with a clinical close-up of open-heart surgery and ends with, well… just the opposite, really (if I can be vague enough as to imply what a heartbreaking Lanthimos ending can look like).

This theme of hearts—loved ones, the idea that family ties are quantifiable—is what Sacred Deer canters satirically on throughout its 109 minutes. The plot, while easily summarized, is characteristically mysterious: after a death on his operating table, the children of cardiologist Steven (Colin Farrell) begin to experience inexplicable illnesses, beginning with paralysis and leading to loss of appetite.

Baffling his medical colleagues as they run studies, the curse that’s getting worse seems to be stemming from Martin (Barry Keoghan), the strange, teenaged son of Steven’s late patient, who Steven had befriended following the funeral as a sign of humanity.

But, as we know, humanity is exactly what’s on the chopping block in a Yorgos Lanthimos film. And like Dogtooth, this examination of the human family unit is conveyed like an experiment by scientists from another world: these are people, here are their biological functions, and here is how you unravel (read: fuck with) their self-imposed morals.

That The Killing of a Sacred Deer feels so distinctly alien is not unintentional. Take, for instance, Martin’s intentionally Pinocchio levels of wooden dialogue—off at first, incredibly unsettling soon after. The film, through its entirety, is captured via camera angles demanding squinting and neck-craning—if the camera is moving, it’s often above, below, or far away from its subjects. Its Under the Skin-esque thrums of unsettling instrumentals sound like transmissions from deepest space.

Perhaps an extraterrestrial reading explains the mystery behind its premise—but if we take this at face value, it’s a film of psychological detachment. At the very least, Steven and his wife Anna (Nicole Kidman) will need to be equally detached to gain closure from this ordeal.

It’s an awfully brutal comedy, and an ultimately successful one: by asking his audience to prepare for a fatal solution to a family’s foregone conclusion, Lanthimos gets away with murder. Though if you’ve studied the canon of psychological horror films the director clearly invokes in this playful nightmare, you already knew that such a thing was possible.

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“I think [technology has[ its made my life faster, it’s made the ability to succeed easier. But has that made my life better? Is it better now than it was in the eighties or seventies? I don’t think we are happier. Maybe because I’m 55, I really am asking these questions… I really want to do meaningful things! This is also the time that I really want to focus on directing. I think that I will act less and less. I’ve been doing it for 52 years. It’s a long time to do one thing and I feel like there are a lot of stories that I got out of my system that I don’t need to tell anymore. I don’t need to ever do The Accused again! That is never going to happen again! You hit these milestones as an actor, and then you say, ‘Now what? Now what do I have to say?'”
~ Jodie Foster

“If there’s one rule Hollywood has metaphysically proven in its century of experimentation, it’s that there’s no amount of money you can’t squander in the quest for hits.

“Netflix has spent the past couple years attempting to brute-force jailbreak this law. Its counter-theory has seemed to be, sure, a billion dollars doesn’t guarantee quality but how about three billion dollars? How about five billion dollars? Seven?

“This week’s latest cinematic opus to run across no-man’s-land into the machine-gun emplacements has been the Jared Leto yakuza movie ‘The Outsider.’ Once again, debuting on Netflix, another thing called a movie that at one glance doesn’t look like any kind of movie anyone has ever seen before, outside of off-prime time screenings at the AFM.

“If you’re working at a normal studio, you have one or two of these total misfires in a year and people start calling for your head. How many is Netflix going on? Fifteen? Twenty? This quarter? Any normal company would be getting murdered over results like that.”
~ Richard Rushfield