(Warning: This article contains spoilers for The Lobster.)
Movies can be fairly easy to categorize and label. Writers and directors in the movie biz often stay warm and cozy in their lucrative little genre homes. Quentin Tarantino has a pulpy, revenge story mansion, JJ Abrams has a few old sci-fi homes that he’s flipped using lens flare and M. Night Shyamalan owns a little horror cabin that constantly drips "twists" from its ceiling into a little bucket. Though these creators are masters of their genres, (and even stray outside of them from time to time), we as audience members perpetuate the constant categorization of this visual medium. Filmmakers may set out to make a genre specific flick, but in most cases they are just creating something and we as the audience try to make sense of it by shoving it into various boxes. Every once in a while there are films that come along that are deep and complex, taking from multiple genres that cannot necessarily be put into just one box. Usually for those we label the flick as a “drama” and throw an Oscar at it. In the case of a little darling called The Lobster, this is a film that maybe fits into many genre boxes, as well as none of them at all.