|Die Frankfurt-Tipp Bewertung:|
|Originaltitel:||The Killing of a Sacred Deer|
|Laufzeit:||Ca. 121 Min|
|FSK:||From 16 years|
The successful heart surgeon Steven (Colin Farrell) has a secret: Since the death of a patient he meets regularly with his 16-year-old son Martin (Barry Keoghan). Steven feels guilty and wants to be a fatherly friend to the half-orphan. Steven's wife Anna (Nicole Kidman) is very taken with the boy and their children Kim (Raffey Cassidy) and Bob (Sunny Suljic) also like Martin. But its vulnerable charming facade begins to fall when his attempt to pair Steve with his mother (Alicia Silverstone) is smashed off by the doctor. He puts a curse on Steve's family and thus sets a series of disturbing events in motion…
After the internationally acclaimed absurdity of "The Lobster" - there's no other way to describe this film - director Yorgos Lanthimos now presents his first film shot in the USA, "The Killing of a Sacred Deer". Like his earlier works, this psychothriller also evades the laws of the mainstream. Lanthimos plays with motifs such as guilt and revenge in an inappropriate way and creates parallels to the Greek myth of Iphigenia throughout the course of history. To appease the goddess Artemis, in whose holy grove he had killed a stag, King Agamemnon is to sacrifice his eldest daughter Iphigenia. In a similar situation is Steven, who is supposed to settle his debt for the death of Martin's father by sacrificing one of his children.
What follows a somewhat tough but quite atmospheric beginning is disturbing, mysterious, bizarre and fascinating - but also very exhausting. With a mixture of deep black humour and symbolically pregnant drama, Lanthimos dissects the idyll of the American model family. He creates a depressing mood, which is intensified even more by the humor that is interspersed every now and then. If humorous moments in other films help to ease the tension a little, Lanthimo uses sarcasm and enigmatic wit to heighten the overall gloomy mood. How he manages to do this can only be described as extremely artistic.
That doesn't change the fact that some scenes seem as if they are bizarre just to be bizarre, as if they aren't understandable, just to make sure that the movie doesn't get anywhere near straightforward entertainment. Certainly, a meaning can also be interpreted into such moments. But it seems as if the argument that not everything should be explained to the audience is just an excuse to be as unadjusted and weird as possible. And that's what makes this work a very bulky and always highly exhausting movie.
Always - and this is reason enough for many friends of the unadapted arthouse cinema to be able to get enthusiastic about a film - "The Killing of a Sacred Deer" has to be attested that it is not so easy to say "The film reminds me of…" or "That's clearly stolen from …. It is a very own work - in a positive as well as in a negative sense. A "worth seeing" here is absolutely deserved - for friends of the more conventional entertainment cinema, however, to be enjoyed with caution. ]
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