This is either a case of me reading way too much into a movie or else not enough. The movie “The Lobster” seems to be one of the ultimate symbolically MK-Ultra and/or Monarch Mind Control programming movies.
It was directed by Yorgos Lanthimos and stars Colin Farrell as David, Rachel Weisz as the short sighted woman, Ben Whishaw as the limping man, Léa Seydoux as the loner leader and John C. Reilly as the lisping man. It was release in Ireland in 2015 AD and the US in 2016 AD.
It pertains to a hotel wherein, for unknown reasons, people check in and must either find a partner, as in coupling, within a certain limited amount of time or else be turned into an animal of their choosing. The protagonist, David, chooses to be turned into a lobster; should be fail. Because, or so he explains, a lobster’s blood is blue blood like that of the aristocrats, they live 100 years and are fertile for life.
In the meantime, they have outings into the woods where they shooting outcasts (“loners”).
There is a strict regimen of various punishments assigned for violating the hotel’s various strict rules.
The, very basic (since, I am sure, no one knows what to make of the movie) is:
In a dystopian near future, single people, according to the laws of The City, are taken to The Hotel, where they are obliged to find a romantic partner in forty-five days or are transformed into beasts and sent off into The Woods.
Guy Lodge refers to it as “a wickedly funny, unexpectedly moving satire of couple-fixated society.” He references Yorgos Lanthimos’ “ongoing fascination with artificially constructed community…A wickedly funny protest against societal preference for nuclear coupledom” (“Film Review: ‘The Lobster,’” Variety, May 15, 2015 AD).
He also wrote, “While no one bats an a eyelid at the transformation of humans into flamingos, the two-by-two mandate of Noah’s Ark still applies: A wolf and a penguin cannot live together, decrees the no-nonsense Hotel manager (the splendid Olivia Colman), ‘because that would be absurd.’”
At one point, David escapes and joins a group of outcasts like himself—the people for whom the hotel dwellers hunt. They too have strict rules and even stricter punishments such as the “Red Kiss” which denotes having your lips slashed deeply with razors for the crime of kissing another outcast.
Overall, the hotel seems to symbolize the mind control programming. The options, as it were, seem to be to become a programmed assassin or be split, or further split, into subpersonalities represented by the concept of being turned into an animal.
One obvious tie that binds the hotel dwellers is sociopathy. They hunt people, are unmoved when a woman attempts suicide by jumping off of the hotel. She does not die from the fall and cries out in terrible pain. The hotel dwellers are annoyed by the fact that she is annoying them by crying out loud. The reason that David became an outcast is that his coupling partner murdered his brother, who was in the form of a dog, and try as he may to hold back, he ended up displaying an emotional reaction.
Outcasts are supposed to dig their own graves which may be a styled threat of, suicide programming, death if they fail to accomplish their programmed task. When they dig their graves they are to lay down in the and partially cover themselves in soil.
There are many odd and seemingly nonsensical scenes such as the outcasts dancing in the dark in the woods to no music. In the hotel, they view play-like presentations that are to show them the importance of coupling.
Guy Lodge states that it is “a film in which nearly every scene requires bookmarking, to be intuitively cross-referenced at a later point.”
When David first comes to the hotel he is asked his sexual preference and says women but that he had a homosexual experience earlier in his life so he may want to register as bisexual. He is told that it is either heterosexual or homosexual and chooses heterosexual.
The outcasts make an outing to a mall wherein police officers questioning anyone they see alone. They ask for their documentation of marriage with the implication that they would be in trouble if they were not.
When David couples with another outcast (the short sighted woman), they develop a series of hand/arm symbols so as to communicate privately.
For some reason, the outcast’s leader reasons that it would be better for the short sighted woman to be blind than shortsighted and has her undergo an operation to make her blind. The short sighted woman guesses that the leader did that due to finding out that she had fallen in love with David and planned on leaving the outcast’s forest dwelling, they seem to simply dwell in the open woods without shelters, for the city.
For some unknown reason, once they do escape into the city, they go to a restaurant wherein David goes to the bathroom and is seen about to stab himself in the eye with a knife: apparently, he blinded himself completely.
Masturbation is forbidden for hotel dwellers but when the protagonist becomes an outcast, he boasts that outcasts can masturbate whenever they want. Also, for some odd reason there are a couple of references to anal sex.
This may be nothing but whilst in the hotel, we are told of the protagonist that “His room number was 101” which may be a sneaky 11 which, as per Aleister Crowley, Allen Greenfield, etc., is the premier occult/magick number.
Add to this, perhaps, that the hotel dwellers have “forty-five days” to complete their coupling task or else be “transformed into beasts and sent off into The Woods.” As per occult numerological reduction: 45 reduces to 4+5=9. Thus, if 101 and forty-five mean anything, we have ourselves an interesting 9/11.
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