Cockburn Gazette - - WHAT’S ON -

YORGOS Lan­thi­mos re­ally wants to get under your skin and set up camp for an un­com­fort­able and un­easy two hours.

If you let him, you are in for a cin­e­matic treat.

Sur­geon Steven Mur­phy (Colin Far­rell) is keep­ing a se­cret from his wife Anna (Ni­cole Kid­man) and his chil­dren Kim (Raf­fey Cas­sidy) and Bob (Sunny Suljic).

He is hav­ing se­cret ren­dezvous with mys­te­ri­ous teenager Martin (Barry Keoghan), meet­ing in iso­lated Yorgos Lan­thi­mos

Ni­cole Kid­man, Colin Far­rell, Ali­cia Sil­ver­stone Ju­lian Wright Novem­ber 16

lo­ca­tions, and buy­ing the kid an ex­pen­sive watch.

Turns out, Martin is the son of a man who re­cently died on the op­er­at­ing table and Steven feels ob­li­gated to meet him. But things get weirder when Kim and Bob sud­denly and with­out ex­pla­na­tion be­come paral­ysed, un­able to move their legs, and Martin warns that worse is yet to come.

From the open­ing ex­tended shot of open heart surgery, through to the mono­tone de­liv­ered di­a­logue and the un­usual, over­bear­ing score, The Killing of a Sa­cred Deer feels like a night­mare in slow mo­tion and wants you to feel anx­ious. This is more about mood than any­thing else.

An­other odd­ity is the in­clu­sion of 1990s teen sen­sa­tion and Clue­less star Ali­cia Sil­ver­stone as Martin’s bound­aries-less Mum.

While there is not as much sub­text go­ing on here as in Lan­thi­mos’ last film The Lob­ster, a bril­liant satir­i­cal black com­edy (which also stars Far­rell), his un­usual style lit­tered with the black­est hu­mour re­mains and is im­pres­sive to be­hold.

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