Yorgos Lanthimos' Mundane Body Horror Includes Sex, Violence, and Toasters

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}, { "@type": "ListItem", "position":"3", "name": "Sex, Violence, and Toasters: Yorgos Lanthimos' Mundane Body Horror", "item": "https://web.archive.org/web/20220525014403/https://collider.com/yorgos-lanthimos-mundane-body-horror/" } ] } </script> <nav> <ul> <li><a href="/web/20220525014403/https://collider.com/">Home</a></li> <li><a href="https://web.archive.org/web/20220525014403/https://collider.com/movie-features/">Movie Features</a></li> <li><a>Sex, Violence, and Toasters: Yorgos Lanthimos' Mundane Body Horror</a></li> </ul> </nav> </div>   <h1 class="heading_title">Sex, Violence, and Toasters: Yorgos Lanthimos' Mundane Body Horror</h1> <div class="heading_meta"> <div class="w-author"> <span class="meta_txt author lighter">By</span> <a class="meta_txt author" href="/web/20220525014403/https://collider.com/author/joe-hoeffner/"> Joe Hoeffner </a> </div> <span class="meta_txt date"><time datetime="2022-05-22T14:30:00Z">Published 2 days ago</time></span> </div> <div class="heading_sharing"> <button class="sharing-btn btn-more" onclick="this.parentNode.classList.add('open')"> <span class="icon i-share"></span> <span class="text">Share</span> </button> <a class="sharing-btn btn-facebook" target="_blank" href="https://web.archive.org/web/20220525014403/https://www.facebook.com/sharer/sharer.php?u=https%3A%2F%2Fcollider.com%2Fyorgos-lanthimos-mundane-body-horror%2F%2F&src=sdkpreparse"> <span class="icon i-facebook"></span> <span class="text">Share</span> </a> <a class="sharing-btn btn-twitter" target="_blank" href="https://web.archive.org/web/20220525014403/https://twitter.com/intent/tweet?text=Sex%2C%20Violence%2C%20and%20Toasters%3A%20Yorgos%20Lanthimos%27%20Mundane%20Body%20Horror&url=https%3A%2F%2Fcollider.com%2Fyorgos-lanthimos-mundane-body-horror%2F"> <span class="icon i-twitter"></span> <span class="text">Tweet</span> </a> <a class="sharing-btn btn-linkedIn" target="_blank" href="https://web.archive.org/web/20220525014403/https://www.linkedin.com/shareArticle?mini=true&url=https%3A%2F%2Fcollider.com%2Fyorgos-lanthimos-mundane-body-horror%2F&title=Sex%2C%20Violence%2C%20and%20Toasters%3A%20Yorgos%20Lanthimos%27%20Mundane%20Body%20Horror&source=collider.com&summary=The%20Greek%20auteur%20is%20fascinated%20by%20the%20awkward%2C%20terrible%20things%20that%20can%20happen%20to%20the%20human%20body."> <span class="icon i-linkedIn"></span> <span class="text">Share</span> </a> <a class="sharing-btn btn-mail" href="https://web.archive.org/web/20220525014403/mailto:/?Subject=Sex, Violence, and Toasters: Yorgos Lanthimos' Mundane Body Horror&Body=Check%20this%20out%21%0Ahttps%3A%2F%2Fhttps://collider.com/yorgos-lanthimos-mundane-body-horror/"> <span class="icon i-mail-1"></span> <span class="text">Email</span> </a> </div> <p class="heading_excerpt">The Greek auteur is fascinated by the awkward, terrible things that can happen to the human body.</p> <div class="heading_image responsive-img img-size-heading-image expandable " style="padding-bottom:50%" data-img-url="https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/05/sex-violence-and-toasters-yorgos-lanthimos-mundane-body-horror-feature.jpg" data-modal-id="single-image-modal" data-modal-container-id="single-image-modal-container" data-img-caption=""""> <figure> <picture>  <source media="(min-width: 1024px)" sizes="1500px" srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/05/sex-violence-and-toasters-yorgos-lanthimos-mundane-body-horror-feature.jpg?q=50&fit=contain&w=1500&h=&dpr=1.5"/> <source media="(min-width: 768px)" sizes="943px" srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/05/sex-violence-and-toasters-yorgos-lanthimos-mundane-body-horror-feature.jpg?q=50&fit=contain&w=943&h=&dpr=1.5"/> <source media="(min-width: 481px)" sizes="767px" srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/05/sex-violence-and-toasters-yorgos-lanthimos-mundane-body-horror-feature.jpg?q=50&fit=contain&w=767&h=&dpr=1.5"/> <source media="(min-width: 0px)" sizes="960px" srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/05/sex-violence-and-toasters-yorgos-lanthimos-mundane-body-horror-feature.jpg?q=50&fit=contain&w=960&h=&dpr=1.5"/>  <img width="1400" height="700" alt="sex-violence-and-toasters-yorgos-lanthimos-mundane-body-horror-feature" data-img-url="https://web.archive.org/web/20220525014403/https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/05/sex-violence-and-toasters-yorgos-lanthimos-mundane-body-horror-feature.jpg"/> </picture> <figcaption class="item-img-caption"></figcaption> </figure> </div>  </header><section id="article-body" class="article-body" itemprop="articleBody"> <p>The phrase “body horror” refers generally to any work of horror about the human body being violated or distorted, but it has a more specific connotation; after all, the <strong><em>Hostel</em></strong> series isn’t usually considered body horror, even though tendons get sliced and faces get burnt off with blowtorches. Most well-known pieces of body horror, like the films of <strong><a href="https://web.archive.org/web/20220525014403/http://collider.com/tag/david-cronenberg">David Cronenberg</a> </strong>or the manga of <strong>Junji Ito</strong>, have surreal, supernatural elements, such as a slow transformation into a fly or the sight of limbs being stretched until they resemble ramen noodles. The horror comes from the sheer <em>wrongness</em> of the situation: bodies are in the wrong shape, limbs are in the wrong direction, orifices leak the wrong fluid.</p>   <p>The films of <strong><a href="https://web.archive.org/web/20220525014403/http://collider.com/tag/yorgos-lanthimos">Yorgos Lanthimos</a> </strong>don’t directly deal with that kind of body horror. The world of <a href="https://web.archive.org/web/20220525014403/http://collider.com/tag/the-lobster"><strong><em>The Lobster</em></strong></a> can transform people into animals, but the process is never shown, and the audience only gets secondhand details (draining blood and removing organs is involved). <strong><em>The Killing of a Sacred Deer</em></strong> is about a family struck by a mysterious, terrible sickness, but the most outwardly grotesque thing that happens is a bit of blood from the eyeballs. Lanthimos’ filmography is defined by a different, more mundane type of body horror; he takes the physical rituals of sex and violence audiences might take for granted and stages them in deliberately off-putting ways. The things that happen to the bodies in his films are familiar, if often grotesque; it’s <em>everything around them</em> that feels wrong.</p>   <div class="body-img landscape"> <div class="responsive-img expandable img-article-item" style="padding-bottom:56.25%" data-img-url="https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/05/Killing-of-a-Sacred-Deer-Nicole-Kidman-Colin-Farrell.jpg" data-modal-id="single-image-modal" data-modal-container-id="single-image-modal-container" data-img-caption=""""> <figure> <picture>  <source media="(min-width: 1024px)" sizes="1500px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/05/Killing-of-a-Sacred-Deer-Nicole-Kidman-Colin-Farrell.jpg?q=50&fit=crop&w=1500&dpr=1.5"/> <source media="(min-width: 768px)" sizes="943px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/05/Killing-of-a-Sacred-Deer-Nicole-Kidman-Colin-Farrell.jpg?q=50&fit=crop&w=943&dpr=1.5"/> <source media="(min-width: 481px)" sizes="767px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/05/Killing-of-a-Sacred-Deer-Nicole-Kidman-Colin-Farrell.jpg?q=50&fit=crop&w=767&dpr=1.5"/> <source media="(min-width: 0px)" sizes="480px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/05/Killing-of-a-Sacred-Deer-Nicole-Kidman-Colin-Farrell.jpg?q=50&fit=crop&w=480&dpr=1.5"/>  <img width="768" height="432" class="lazyload" alt="Killing of a Sacred Deer-Nicole Kidman Colin Farrell" data-img-url="https://web.archive.org/web/20220525014403/https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/05/Killing-of-a-Sacred-Deer-Nicole-Kidman-Colin-Farrell.jpg"/> </picture> </figure> </div> </div> <p> Body horror is often preoccupied with sex: <strong><em>Shivers</em></strong>, the alien parasite film that put Cronenberg on the map, is essentially one big STD metaphor, and <strong>Julia Ducournau</strong>’s Palme d’Or-winning <strong><em>Titane</em></strong> is about what happens when a car gets a woman pregnant. Nothing so shocking happens in Lanthimos’ movies, but he similarly uses sex as a way to make audiences deeply uncomfortable. In these films, sex never involves two beautiful people exploring each other’s bodies; instead, it’s a clumsy, uncomfortable activity, presented with all the charged eroticism of an IKEA catalogue. That’s because the sex is either mandated (as in <em>The Lobster</em>’s hotel, where the maids stiffly grind upon single guests to frustrate them) or transactional (as in <em>Sacred Deer</em>, where <strong>Nicole Kidman</strong>’s Anna masturbates her husband’s co-worker in exchange for confidential medical records). These acts aren’t expressions of lust, but rote fulfillment of obligations.</p>   <p><span class="related-single">RELATED: <a href="https://web.archive.org/web/20220525014403/https://collider.com/yorgos-lanthimos-greek-weird-wave/">How Yorgos Lanthimos Defines the Greek Weird Wave</a></span></p> <p>Even the sex scenes ostensibly for the characters’ pleasure are calibrated to weird the audience out. <strong><em>The Favourite</em></strong> may be, for lack of a better word, Lanthimos’ horniest movie, but while Queen Anne (<strong>Olivia Colman</strong>) enjoys herself greatly with her two lovers (<strong>Rachel Weisz</strong> and <strong>Emma Stone</strong>), the whole thing is so fraught with tension and ulterior motives that it’s hard to find the actual sex titillating. (Rarely has a leg massage felt so uncomfortably non-erotic.)</p> <div class="body-img landscape"> <div class="responsive-img expandable img-article-item" style="padding-bottom:50%" data-img-url="https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/04/the-favourite-olivia-colman.jpg" data-modal-id="single-image-modal" data-modal-container-id="single-image-modal-container" data-img-caption=""""> <figure> <picture>  <source media="(min-width: 1024px)" sizes="1500px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/04/the-favourite-olivia-colman.jpg?q=50&fit=crop&w=1500&dpr=1.5"/> <source media="(min-width: 768px)" sizes="943px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/04/the-favourite-olivia-colman.jpg?q=50&fit=crop&w=943&dpr=1.5"/> <source media="(min-width: 481px)" sizes="767px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/04/the-favourite-olivia-colman.jpg?q=50&fit=crop&w=767&dpr=1.5"/> <source media="(min-width: 0px)" sizes="480px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/04/the-favourite-olivia-colman.jpg?q=50&fit=crop&w=480&dpr=1.5"/>  <img width="2000" height="1000" class="lazyload" alt="Rachel Weisz and Olivia Colman in The Favourite" data-img-url="https://web.archive.org/web/20220525014403/https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/04/the-favourite-olivia-colman.jpg"/> </picture> </figure> </div> </div> <p> And when Steve and Anna, played by famously beautiful people <strong>Colin Farrell</strong> and Kidman, have sex in <em>Sacred Deer</em>, Lanthimos deflates any pleasure the audience might take from it by having Anna pretend to be under general anesthesia. She splays herself across the bed, limbs floppy, head limp; her torso arches slightly, and her ribs stand out against her skin. When her husband, a surgeon, kisses her way down her midsection, it’s skin-crawling.</p>   <p>Lanthimos’ approach to violence is similarly strange, and has a similarly alienating effect on the audience. The violence in his movies isn’t over the top — he’s not <strong>Nicholas Winding Refn</strong> — but it can still elicit horrified gasps from first-time viewers, simply because it’s staged in a way they haven’t seen before. Take the scene in <em>The Lobster</em> where a man in the dystopian hotel (<strong>John C. Reilly</strong>) is punished for masturbating by having his hand burnt in a toaster. The scene is set in a drab hotel dining room during a bland continental breakfast — hardly a place to expect violence — and the use of a toaster as a torture device is so unexpected that the viewer might not see it coming until the man’s hand is thrust inside. The scene is clearly building to some sort of punishment, but the viewer might first assume that the man would be dragged off to be transformed. Then, before they can think, “<em>hey, what are they doing with that toaster?</em>” they’re given a nasty surprise.</p>   <div class="body-img landscape"> <div class="responsive-img expandable img-article-item" style="padding-bottom:66.666666666667%" data-img-url="https://static1.colliderimages.com/wordpress/wp-content/uploads/2015/05/the_lobster_john_cr_reilly_colin_farrell_ben_whishaw_600x400-600x400.jpg" data-modal-id="single-image-modal" data-modal-container-id="single-image-modal-container" data-img-caption=""Image via TIFF""> <figure> <picture>  <source media="(min-width: 1024px)" sizes="1500px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2015/05/the_lobster_john_cr_reilly_colin_farrell_ben_whishaw_600x400-600x400.jpg?q=50&fit=crop&w=1500&dpr=1.5"/> <source media="(min-width: 768px)" sizes="943px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2015/05/the_lobster_john_cr_reilly_colin_farrell_ben_whishaw_600x400-600x400.jpg?q=50&fit=crop&w=943&dpr=1.5"/> <source media="(min-width: 481px)" sizes="767px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2015/05/the_lobster_john_cr_reilly_colin_farrell_ben_whishaw_600x400-600x400.jpg?q=50&fit=crop&w=767&dpr=1.5"/> <source media="(min-width: 0px)" sizes="480px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2015/05/the_lobster_john_cr_reilly_colin_farrell_ben_whishaw_600x400-600x400.jpg?q=50&fit=crop&w=480&dpr=1.5"/>  <img width="600" height="400" class="lazyload" alt="lobster-reilly-whishaw-farrell" data-img-url="https://web.archive.org/web/20220525014403/https://static1.colliderimages.com/wordpress/wp-content/uploads/2015/05/the_lobster_john_cr_reilly_colin_farrell_ben_whishaw_600x400-600x400.jpg"/> </picture> <figcaption class="body-img-caption">Image via TIFF</figcaption> </figure> </div> </div> <p> Lanthimos’ characters inflict violence upon each other, but they save the worst of it for themselves. In <em>The Lobster</em>, a man is so desperate to have something in common with a woman who has frequent nosebleeds that he’s willing to secretly break his own nose to induce nosebleeds in himself. Later, protagonist David (Farrell), in a last-ditch attempt to have something in common with a blind woman (Weisz), is willing to slash his eyes out with a steak knife. (It’s unclear if he goes through with it, but the implication is disturbing enough.) And in <em>The Favourite</em>, Abigail (Stone) is so determined to make Sarah (Weisz) look bad that she bludgeons herself repeatedly across the face with a book, gritting her teeth through each <em>whack</em> until she’s black and blue. Movie characters, like most real people, have a certain sense of self-preservation, which makes these characters’ willingness to hurt themselves for their own goals that much more jarring.</p>  <p><span class="related-single">RELATED: <a href="https://web.archive.org/web/20220525014403/https://collider.com/the-killing-of-a-sacred-deer-ending-explained/">'The Killing of a Sacred Deer' Ending Explained: Fate, Uh, Finds a Way</a></span></p> <p><strong><em>Dogtooth</em></strong>, Lanthimos’ international breakthrough, is the finest example of his alienating approach to the human body. The father of <em>Dogtooth</em>’s isolated family hires an employee at his factory named Christina (<strong>Anna Kalaitzidou</strong>) to come to his house and have sex with his naive adult son (<strong>Christos Passalis</strong>), an activity both of them seem completely indifferent to; frustrated, Christina trades items like headbands and hair gel to the equally naive elder daughter (<strong>Angeliki Papoulia</strong>) in exchange for cunnilingus. The sex between Christina and the son is stiff and mechanical to the point of comedy, and what the audience sees of the elder daughter’s oral sex suggests that she has no idea what she’s doing. Even without the element of exploitation (or indeed, the later addition of incest), these sex scenes are perversely unsatisfying, which is very much the point.</p>   <p>The violence, too, is so strange and sudden that it hits the audience like a sucker punch. When the son and the eldest daughter get into a petty wrestling fight over a toy airplane, one might expect the son’s eventual victory to be the end of it — until he goes inside, and his spiteful sister slashes his arm with a knife. (He has a bandage on his arm for the rest of the movie, but the incident is never mentioned again.) And when the father (<strong>Christos Stergioglu</strong>) goes over to Christina’s apartment after he discovers that she gave his daughter videotapes of Hollywood movies, the audience senses that something bad is about to happen, but they might not expect it to involve him smashing a VCR over her head. It would almost feel like slapstick were it not for the sudden violence of it, as well as the queasily voyeuristic position of the camera.</p>  <div class="body-img landscape"> <div class="responsive-img expandable img-article-item" style="padding-bottom:58.583333333333%" data-img-url="https://static1.colliderimages.com/wordpress/wp-content/uploads/2020/06/dogtooth-angeliki-papoulia-social.jpg" data-modal-id="single-image-modal" data-modal-container-id="single-image-modal-container" data-img-caption=""""> <figure> <picture>  <source media="(min-width: 1024px)" sizes="1500px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2020/06/dogtooth-angeliki-papoulia-social.jpg?q=50&fit=crop&w=1500&dpr=1.5"/> <source media="(min-width: 768px)" sizes="943px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2020/06/dogtooth-angeliki-papoulia-social.jpg?q=50&fit=crop&w=943&dpr=1.5"/> <source media="(min-width: 481px)" sizes="767px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2020/06/dogtooth-angeliki-papoulia-social.jpg?q=50&fit=crop&w=767&dpr=1.5"/> <source media="(min-width: 0px)" sizes="480px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2020/06/dogtooth-angeliki-papoulia-social.jpg?q=50&fit=crop&w=480&dpr=1.5"/>  <img width="1200" height="703" class="lazyload" alt="" data-img-url="https://web.archive.org/web/20220525014403/https://static1.colliderimages.com/wordpress/wp-content/uploads/2020/06/dogtooth-angeliki-papoulia-social.jpg"/> </picture> </figure> </div> </div> <p> Easily the most disturbing scene of the movie, as well as the most shining example of body horror in Lanthimos’ whole filmography, is the scene towards the end, where the eldest daughter decides to get rid of her titular dogtooth. Her father has told her she can only leave the house safely once that dogtooth comes out, and the restless young woman is tired of waiting. The scene cuts to her standing in front of the bathroom mirror, with a small blue dumbbell on the sink. Another director might have drawn out the tension, making the audience wonder whether she can go through with it. Maybe they would have introduced the dumbbell earlier, perhaps having the daughter look at it meaningfully as she gets an idea.</p>  <p>Instead, this happens: the daughter picks up the dumbbell. The daughter bares her teeth. Then, with only a second of hesitation, <em>crack! </em>She doubles over in agony, a streak of blood spattering across the mirror. The audience expects her to cry, shake, psych herself up for the next strike. She doesn’t. <em>Crack!</em> She bends over again, but only a little. <em>Crack! </em>This one knocks it loose. It only takes her thirty seconds to knock her tooth out, but that doesn’t make it any easier to watch.</p>  <p>Nobody pukes acid or gives birth to alien spawn in Yorgos Lanthimos’ movies, but his particular brand of body horror is part of what makes his work so distinctive. To Lanthimos, the scariest thing about the human body is what the human mind can make it do: what it’s willing to do to others, and what it’s willing to do to itself.</p> <div id="article-waypoint"></div>  <a class="sentinel-article-nextArticle next-btn" data-content-id="2017979" href="/web/20220525014403/https://collider.com/must-see-lovecraft-movies/"> <div class="next-btn-img"> <div class="bc-img responsive-img img-article-next-btn"> <figure> <picture>  <source media="(min-width: 768px)" sizes="320px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/04/must-see-lovecraft-cinema-feature.jpg?q=50&fit=crop&w=320&h=240&dpr=1.5"/> <source media="(min-width: 0px)" sizes="140px" data-srcset="https://web.archive.org/web/20220525014403im_/https://static1.colliderimages.com/wordpress/wp-content/uploads/2022/04/must-see-lovecraft-cinema-feature.jpg?q=50&fit=crop&w=140&h=140&dpr=1.5"/>  <img width="1400" height="700" 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Toasters: Yorgos Lanthimos' Mundane Body Horror&Body=Check%20this%20out%21%0Ahttps%3A%2F%2Fhttps://collider.com/yorgos-lanthimos-mundane-body-horror/"> <span class="icon i-mail-1"></span> <span class="text">Email</span> </a> </div> <div class="article-tags"> <div class="section-sub-title">Related Topics</div> <ul> <li><a href="/web/20220525014403/https://collider.com/movie-features/">Movie Features</a></li> <li><a href="/web/20220525014403/https://collider.com/tag/yorgos-lanthimos/">Yorgos Lanthimos</a></li> </ul> </div>   <div class="w-article-author-bio-expand" id="w-article-author-bio-expand"> <div class="section-sub-title">About The Author</div> <div class="w-article-author-bio "> <div class="author-bio-img"> <img data-src="/public/build/images/default-user.17935e18.png" class="lazyload"> </div> <div class="author-bio-text"> <strong class="bio-title">Joe Hoeffner <span class="amount">(34 Articles Published)</span> </strong> <div class="bio-social"> </div> <div class="bio-desc"> 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Yorgos Lanthimos' Mundane Body Horror Includes Sex, Violence, and Toasters