{"id":121018,"date":"2020-11-26T20:16:10","date_gmt":"2020-11-26T17:16:10","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/yorgos-lanthimos-gets-even-weirder-with-anti-doppelganger-short-nimic\/"},"modified":"2020-11-26T20:16:10","modified_gmt":"2020-11-26T17:16:10","slug":"yorgos-lanthimos-gets-even-weirder-with-anti-doppelganger-short-nimic","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/yorgos-lanthimos-gets-even-weirder-with-anti-doppelganger-short-nimic\/","title":{"rendered":"#Yorgos Lanthimos Gets Even Weirder with Anti-Doppelg\u00e4nger Short Nimic"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_85 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a3e55faad946\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #dd3333;color:#dd3333\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #dd3333;color:#dd3333\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a3e55faad946\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-5'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/yorgos-lanthimos-gets-even-weirder-with-anti-doppelganger-short-nimic\/#Nimic_arrives_on_Mubi_November_27th\" >Nimic arrives on Mubi November 27th.<\/a><\/li><\/ul><\/nav><\/div>\n<p>&#8220;<strong>#Yorgos Lanthimos Gets Even Weirder with Anti-Doppelg\u00e4nger Short Nimic<\/strong>&#8221;<\/p>\n<div>\n<aside class=\"mashsb-container mashsb-main mashsb-stretched\">\n                <\/aside>\n<p><!-- Share buttons by mashshare.net - Version: 3.7.8--><strong>Yorgos Lanthimos<\/strong> has a thing about identity. From his experimental underground beginnings to the Oscar-nominated <em>The Favourite<\/em>, it\u2019s the defining <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">theme<\/a> of his work \u2014 less conspicuous, maybe, than the fish-eye cinematography and deadpan line readings characteristic of his films, but no less quintessential a hallmark.<\/p>\n<p>In <em>Kinetta <\/em>and <em>Alps<\/em>, Lanthimos explores the relationship between actor and role to ask how much of who we are can be reduced to rote performance, while breakthroughs like <em>Dogtooth <\/em>and <em>The Lobster<\/em> probe the repressive flattening of identity (and the resistance it inspires) in authoritarian societies. In <em>The Killing of a Sacred Deer<\/em> and <em>The Favourite<\/em>, too, there\u2019s a dystopian edge to the subject, as the quest for an identity is reduced to a <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/watch-movies-tv-seriess\/\" data-internallinksmanager029f6b8e52c=\"8\" title=\"Watch Movies &amp; TV Series\" target=\"_blank\" rel=\"noopener\">series<\/a> of cold transactions, with characters jostling for relevancy using passionless handjobs and household chores as bargaining chips.<\/p>\n<p><strong><em>Nimic<\/em><\/strong>, Lanthimos\u2019 latest short film, stretches its director\u2019s favorite theme \u2014 and the absurdism that colors all of his work \u2014 to its abstract extremes. <strong>Matt Dillon<\/strong>, the star of several recent boundary-pushing auteurist movies, continues that foray into the avant-garde with a lead role as a professional cellist whose wife, children, and career are stolen from him by an impersonator. But rather than make use of prosthetics, lookalikes, or visual effects to create Dillon\u2019s usurper, Lanthimos opts for the most psychologically jarring approach, casting the wholly dissimilar <strong>Daphne Patakia<\/strong> instead.<\/p>\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"600\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/nimic-lanthimos-daphne-patakia.jpg\" alt=\"Nimic Lanthimos Daphne Patakia\" class=\"wp-image-359972\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/nimic-lanthimos-daphne-patakia.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/nimic-lanthimos-daphne-patakia-768x576.jpg 768w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/nimic-lanthimos-daphne-patakia-160x120.jpg 160w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/nimic-lanthimos-daphne-patakia-320x240.jpg 320w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/figure>\n<p>It\u2019s a decidedly eccentric casting choice, but one that\u2019s wholly in keeping with Lanthimos\u2019 steadily widening estrangement from rationality. Where the surreality of early works like <em>Dogtooth <\/em>and <em>Alps<\/em> was always offset by a rational explanation \u2014 we can accept that the imprisoned children in the former movie think a shotgun is \u201ca beautiful white bird,\u201d for example, because we\u2019re explicitly shown that that\u2019s what their dictatorial father teaches them to think \u2014 Lanthimos\u2019 more recent films have grown audaciously, unapologetically enigmatic in their logic. Disregarding <em>The Favourite<\/em> (which is tied down to historical fact), he has increasingly embraced the surreality at the heart of his movies, relocating his narratives from the realm of the reasonable to inscrutable universes in which teenage boys have the power to cast karmic curses and governments can turn humans into animals at their whim.<\/p>\n<p>If you\u2019ve seen <em>The Lobster <\/em>or<em> The Killing of a Sacred Deer<\/em>, then, the idea that someone who looks like Daphne Patakia could successfully pose as someone who looks like Matt Dillon \u2014 despite the glaring evidence indicating otherwise \u2014 isn\u2019t too big a pill to swallow. As with those films, the \u201chow\u201d in <em>Nimic <\/em>is immaterial; the movie has all the logistical haze of an ancient myth.<\/p>\n<p>Just as in <em>The Killing of a Sacred Deer<\/em>, those murky mechanics have a tonal purpose: they heighten the horror. When Dillon\u2019s character (\u201cFather\u201d) first meets the mimic, he asks her for the time from across a subway car, and, during an uneasily long pause, she seems to light up, as if the question has triggered for the first time some ancient code written deep within her. She answers, but it\u2019s only to obliviously echo his words back at him: \u201cExcuse me\u2026 do you have the time?\u201d<\/p>\n<p>Suddenly, all the usual anonymity of public transport is terrifyingly dissipated, with Patakia\u2019s mimic wordlessly absorbing and then duplicating all the facts of Father\u2019s life as she follows him home (right down to materialising an identical copy of his house key in her coat pocket). Almost instantaneously, the mimic\u2019s unblinking, dilated eyes and mechanical smile go from innocuously blank to bristling with malevolence.<\/p>\n<p>Lanthimos uses all of the tools at his disposal to amp up the disorientation. Cinematographer <strong>Diego Garc\u00eda<\/strong>\u2019s camera takes a complicit role in <em>Nimic<\/em>\u2018s gaslighting assault on reality, shooting duplicate frames of the original and the copy as they try to convince Dillon\u2019s character\u2019s wife and kids that <em>they <\/em>are the real Father. Similarly discordant is the score, made up of existing music by Lanthimos favorites <strong>Benjamin Britten<\/strong> and pioneering experimental composer <strong>Luc Ferrari<\/strong>, who, like the director, tinkers with mundane elements to produce an unsettling, otherworldly effect in his work. Echoing <em>Nimic<\/em>\u2019s sparse dialogue, Ferrari\u2019s music is full of ellipses, and each musical pause heightens the eeriness as much as its rumbles and zings do.<\/p>\n<p><em>Nimic <\/em>isn\u2019t one-note, however. It embraces the latent physical humor in its absurd central conceit, as in a scene where the musically untrained mimic\u2019s screechy cello-playing is met with sincerely rapturous applause at a concert. In the vein of Lanthimos\u2019 characters elsewhere, Dillon is largely sedate, but Patakia bubbles with the unpredictability of a comic. Like the film\u2019s title, there\u2019s something wryly off-kilter about her, as if she\u2019s a creature who\u2019s just landed on Earth and is trying their best to remember what their interplanetary <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/trip-and-travel\/\" data-internallinksmanager029f6b8e52c=\"10\" title=\"Trip &amp; Travel\" target=\"_blank\" rel=\"noopener\">travel<\/a> guide said about \u201clocal etiquette.\u201d<\/p>\n<p>Her casting is both a farce and a provocation \u2014 it\u2019s Lanthimos wielding absurdity and then subverting it to interrogate his favorite theme again. <em>Nimic<\/em> uses its eleven-minute runtime to weave modern anxieties about identity theft with the timeless, lurking suspicion that we\u2019re all expendable. The latter point recalls prior works, and in that sense, the short feels like a soupy reduction of the obsessions and idiosyncrasies that have defined Lanthimos\u2019 career so far. It bleakly develops <em>Kinetta <\/em>and <em>Alps<\/em>\u2019 driving question, while also uniting <em>The Lobster<\/em>\u2019s coldly transactional view of relationships with<em> Dogtooth<\/em>\u2019s view of the family as the most devastating site for dystopia. As it does in <em>The Lobster<\/em>, <em>The Favourite<\/em>, and <em>The Killing of a Sacred Deer<\/em>, an ominous aura shrouds the film, just as <em>Nimic<\/em> also explores insecurities about personal inadequacy through the shared Lanthimosian motif of life-threatening ultimatums.<\/p>\n<p><em>Nimic<\/em> still feels like an artistic evolution for Lanthimos, though, largely because he has continued to loosen the reins on his actors (flexibility first trialed in The Favourite), allowing them greater expressive freedom than was allowed by the restrictive monotone of previous films. In eliminating some of the dissonances between real-world human behavior and that of his movies, Lanthimos opens up a new facet in his work, which he uses here to suffuse the film with a more im<a href=\"https:\/\/buradabiliyorum.com\/en\/category\/social-mediaa\/\" data-internallinksmanager029f6b8e52c=\"1\" title=\"Social Media\" target=\"_blank\" rel=\"noopener\">media<\/a>te sense of horror. While we can bet that future movies will continue his mind-bending journey of grappling with identity, the increased flexibility and daring on display in <em>Nimic <\/em>indicates an excitingly unpredictable future ahead for its director.<\/p>\n<h5 id=\"h-nimic-arrives-on-mubi-november-27th\"><span class=\"ez-toc-section\" id=\"Nimic_arrives_on_Mubi_November_27th\"><\/span><em>Nimic<\/em> arrives <a rel=\"nofollow noopener noreferrer\" target=\"_blank\" href=\"https:\/\/mubi.com\/films\/nimic\">on Mubi<\/a> November 27th.<span class=\"ez-toc-section-end\"><\/span><\/h5>\n<\/div>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMLG0nwswvr63Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\">For forums sites go to <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/forum.buradabiliyorum.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Forum.BuradaBiliyorum.Com<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/social-media\/\" target=\"_blank\" rel=\"noopener noreferrer\">Social Media category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/filmschoolrejects.com\/yorgos-lanthimos-nimic\/#utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=yorgos-lanthimos-nimic\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;#Yorgos Lanthimos Gets Even Weirder with Anti-Doppelg\u00e4nger Short Nimic&#8221; Yorgos Lanthimos has a thing about identity. From his experimental underground beginnings to the Oscar-nominated The Favourite, it\u2019s the defining theme of his work \u2014 less conspicuous, maybe, than the fish-eye cinematography and deadpan line readings characteristic of his films, but no less quintessential a hallmark&#8230;.<\/p>\n","protected":false},"author":1,"featured_media":121019,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/nimic-lanthimos-matt-dillon.jpg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[81909,81910,81911,1355,81912],"class_list":["post-121018","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-matt-dillon","tag-mubi","tag-nimic","tag-short-films","tag-yorgos-lanthimos"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/121018","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=121018"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/121018\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/121019"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=121018"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=121018"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=121018"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}