In the world of Yorgos Lanthimos’ The Lobster you’re turned into an animal of your choice if you don’t find a mate. Most people choose dogs or at least mammals, but David’s (Colin Farrell) choice is more coldblooded and alien to humans: a lobster. His reasons are fairly logical from an organism’s point of view. The lobster has exceptional reproductive and longevity traits, but the blue-blooded part is a symbolic nod to human social status.
Assia Wevill was a woman erased for a time, her existence concealed by her final lover, poet Ted Hughes. For decades, he shared very personal things with the world but always wrote Assia out of her own life. More recently, however, Assia’s existence is being retraced again, pieced back together and presented as part of the story of Sylvia Plath and Ted Hughes. After Sylvia died, Assia stepped into Sylvia’s life for a time, like walking into a ghost’s shadow. She cared for Sylvia’s children, lived in her rooms, and finally, six years later, killed herself the exact same way Sylvia committed suicide.
“Do you really mean it when you say that?” Rinko asks her boyfriend before they say goodnight. She’s an empathetic, caring girlfriend, but she also has insecurities, flares of jealousy. She can be demanding and stay icy for days if you slight her, but she always forgives as long as you stay attentive. She doesn’t judge.
Olive Kitteridge is one of best examples of the “difficult” person in modern literature, and she’s been expertly channeled for the screen by Frances McDormand.