Killing of a sacred deer

Killing of a sacred deer

Killing of a sacred deer

The outpouring of grief and anger in Moscow over the death of a rare red deer in the arctic Arkhangelsk region is the latest sign of the high emotional charge of the return of the extinct mammoth.The Killing of a Sacred Deer is a 2017 psychological horror thriller film directed by Yorgos Lanthimos, from a screenplay by Lanthimos and Efthymis Filippou. It stars Colin Farrell, Nicole Kidman, Barry Keoghan, Raffey Cassidy, Sunny Suljic, Alicia Silverstone, and Bill Camp. The story is based on the ancient Greek tragedy Iphigenia at Aulis by Euripides.


The Killing of a Sacred Deer was named "one of the best horror movies of the year" by Joey Keogh of Wicked Horror, who called it "horror in its purest, most distilled form, freed from the shackles of jump scares or exposition." Keogh wrote that Keoghan is the film's "ace card", giving "his best, most self-assured performance to date" as Martin, the "supremely frightening yet weirdly charismatic creation who makes even the act of eating spaghetti seem terrifying."

Lanthimos has crafted a sensational thriller brimming with unsettling humor and creeping dread, steeped in Greek tragedy, existential horror, Hitchcockian psychodrama, and riveting suspense. Darting confidently between genres to subvert our expectations at every turn, The Killing of a Sacred Deer firmly cements Lanthimos in the pantheon of world-class auteurs and marks him as a cinematic provocateur without precedent. (Source:a24films.com)


Taking its titular theme from the myth of Iphigenia, The Killing of a Sacred Deer is a wrathful tale of retribution and responsibility transposed from the stages of ancient Greece to the screens of 21st-century cinema. On one level it’s a typically arch dramatic conundrum, laced with Lanthimos’s trademark off-kilter artifice and deadpan humour. On another, it’s a Saw movie for the arthouse crowd, an increasingly sickening hunger game driven by an inflexible moral imperative, with a whiff of medical misadventure.

It’s that clash between the ancient and the modern, the farcical and the fearsome, which gives The Killing of a Sacred Deer its edge. While the setting may seem at first more “realistic” than the worlds of Lanthimos’s previous films, any sense of familiarity merely accentuates the eeriness of the otherworldly elements (Rosemary’s Baby author Ira Levin would have appreciated the juxtaposition). Similarly, the battle between ice-cool irony and full-blooded horror remains perpetually unresolved, leaving the audience squirming with uncertainty when things turn nasty. (Source: www.theguardian.com)



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