The Killing of a Sacred Deer
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raibokuro The films of Greek filmmaker Yorgos Lanthimos are polarising to say the least, deliberately tailored to the art-house crowd seeking something new and potentially shocking, but rarely sitting well with general audiences. Both Dogtooth and The Lobster were difficult movies to watch for many different reasons, yet what makes Lanthimos so interesting is the skill in which he makes an audience feel uneasy. His latest, The Killing of a Sacred Deer, is his most troubling picture yet, and I mean that in a good way. For the first hour of the film Lanthimos allows us to gaze through the windows of a seemingly happy middle-class family, before peeling back the layers to reveal the dysfunction beneath. Think a touch of Cronenberg, a hint of Bunuel, and a large dollop of Haneke, and your somewhere in the right area.
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raibokuro Highly-skilled surgeon Steven Murphy (Colin Farrell) has battled through alcoholism to maintain a position of respect and authority at the hospital he works. He is happily married to Anna (Nicole Kidman) and enjoys spending time with children Bob (Sunny Suljic) and his teenage daughter Kim (Raffey Cassidy. The impressively-bearded Steven also maintains a relationship with a confident young man named Martin (Barry Keoghan) walking and talking by the lake, and meeting in a diner to eat together. If it was anyone other than the subtly unnerving Martin, it would be easy to interpret their first scene together as some kind of strange first date, but it's clear they share some history together. Out of nowhere, Bob suddenly loses feeling in his legs, leaving both his father and specialists baffled at the mysterious condition. As Bob declines in health, Martin grows in confidence, dating Kim in secret and turning up unannounced at the hospital to see Steven on a daily basis.
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raibokuro To say any more would spoil the 'joy' to be had with The Killing of a Sacred Deer, as you spend the first half of the film out of the loop and likely expecting Steven and Martin's relationship to be revealed as sexual. Lanthimos takes his time to provide answers, carefully guiding you into the blood-drained Murphy household and taking you on long walks via Steadicam down endless, cold-white hospital corridors, before unleashing a revelation that will take Steven to the brink. Not all the big questions are answered however, and Lanthimos makes sure they don't need to be. As the mystery illness worsens and others start to show similar symptoms, the film keeps the focus on the central conflict between the handsome, successful doctor and the quietly menacing teen. Farrell continues to impress as he moves away from the pretty-boy roles that dogged his early career, but Keoghan, last seen in Dunkirk earlier this year, steals the film as the delicately threatening Martin. He's rarely anything less than pleasant, but there's just something not quite right, and Keoghan underplays the role to perfection. It's a touch overlong, and a sexual encounter in a car feels unnecessary, but Lanthimos is only fine-tuning his craft, and it feels like his masterpiece is only around the corner.
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