Fargo: TheCrocodilesDilemma (S1, E1)

Fargo: The Crocodile’s Dilemma (S1, E1)

“Your problem is you've spent your whole life thinking there are rules. There aren't. We used to be gorillas.”

Frank (Abrahamson, 2014)

“We’ll have many productive seasons here”

The Lobster (Lanthimos, 2015)

The Lobster is set in a dystopian future where single people spend 44 days at a Hotel, if they remain alone throughout the 45 days, their stay ends with them transforming into an animal of their own choice.

The Hotel reinforces the concept that to be alone is to be weak but to be with a partner is a matter of survival. The mise-en-scene shows the sheer lack of love in the shots, meaning that relationships become hostile and purely strategical. The warm colouring of yellow in most of the shots is completely overshadowed by the horrendous acts the spectator sees on the screen. The film does not discuss reproduction, if a couple stays together long enough, they are allocated a child.  The film argues that, simply, to be alone makes you vulnerable. This is seen in the reenactment scene, the camera remains completey still whilst the workers at the Hotel act out how vulnerable it is for females to walk alone at night. The voiceover is clearly authoritative and furthermore, is devoid of any emotion. Furthermore, it trivializes the situation and rids the characters of any individuality as they cannot even tell their own story. The stilted performance of all characters helps anchor this fragility and this is best highlighted through Biscuit woman, who calmly states that she is “good at blowjobs”, the sexual proposal is not suggested in an enticing way, the spectator fully believes that she is saying this to prove her worth as a potential partner. Moments later she discusses how she will jump out of her window if she is alone by the end of the 45 days.

The film challenges the concept of soul mates, and destined relationships. the film suggests that for soul mates to work, one must suspend disbelief. The limping man’s repeatedly bangs his face against walls to make his nose bleed so that the nosebleed woman percieves that he is the one- that this uncanny resemblance is completely believable. The spectator is forced to see the idiocracy in this concept. At the end of the film, the protagonist still believes in this concept. As he believes he has found his ‘soul mate’ he ails himself so that he can fully ‘match’ his love. 

“In fair Verona, where we lay our scene”

Romeo + Juliet (Luhrmann, 1996)and the colour blue

It Follows (Mitchell, 2014)

What makes It Follows (Mitchell, 2014) so effective as a horror film is that it tells the spectator that they are right to fear the unknown, because the unknown is the voyeur. The Male Gaze objectifies the subject (usually feminine) and empowers the gazer (usually masculine), It Follows subverts this typical film convention. If we gaze into the unknown we believe that we hold the power, yet if the unknown gazes back, without noticing, we are objectified. Mitchell’s use of camera panning encourages passivity, the camera moves for us, the spectator holds no power as in our nightmares, we are passive. Many shots of our protagonist, Jay, are positioned uncomfortably. Some show Jay passing a window whilst others place us with her, gazing at the antagonist. Through the repeated use of the wide shots, the spectator is left vulnerable as we gaze at the shot in it’s entirety, much like our protagonist, we have no idea where it is. 

Another way in which It Follows is incredibly effective is it’s use of isolation as a key theme. In order to pass on the curse, sex is needed. Although this should connote intimacy and love, sex is the cause of this isolation for the ones who suffer from the curse. In isolation, we find ourselves at our most vulnerable and when we are in need, only we truly knows what we need. The almost art-house-esque focuses on the stillness of the shot, the minimalism of most of the shots and mise-en-scene also connotes the emptiness of the film and furthermore, anchors the lack of intimacy. 

“Judy, please, it can’t matter to you.”

Vertigo (Hitchcock, 1958) and the colour green