Yorgos Lanthimos

Yorgos Lanthimos (born September 23, 1973, Athens, Greece) is a Greek director and screenwriter known for his surreal films that combine absurd scenarios, striking set designs, and stories of penetrating psychological insight. Lanthimos learned his trade directing television commercials and music videos in Greece before turning to feature films. His movies include The Favourite (2018) and Poor Things (2023), both of which were nominated for an Academy Award for best picture and garnered Lanthimos nominations for best director.

Early life and education

Lanthimos’s father was a professional basketball player who played for the Greek national team; his mother worked in an appliance store. They divorced when Lanthimos was very young, and he was raised by his mother. When he was 17 his mother died, after which he looked after himself. In numerous interviews, Lanthimos has downplayed this turn of events, saying that he simply had to “keep going” to study, find work, and pay his rent. Lanthimos has also said that he was not a film buff while growing up, but he enjoyed the films of directors John Hughes and Steven Spielberg and martial arts action film star Bruce Lee. He initially studied business administration in college, but he changed course when he was 19 and enrolled in the Hellenic Cinema and Television School Stavrakos in Athens.

In film school Lanthimos began to take an interest in the work of filmmakers Andrey Tarkovsky, John Cassavetes, and Robert Bresson. He has named many other formative influences, including writers Franz Kafka and Samuel Beckett and photographer Diane Arbus. Additionally, he has drawn inspiration from Sarah Kane, a British playwright whose work incorporates themes of violence and radical adaptations of classical plays, and German dancer and choreographer Pina Bausch, a significant figure in neoexpressionist dance.

First film projects

In 2024 Lanthimos told the BBC podcast This Cultural Life that his early work directing commercials gave him technical expertise and confidence, freeing him to concentrate on the imaginative aspects of filmmaking. Additionally, it earned him enough money to afford breaks from commercial work for other film projects. During this time he crossed paths with Efthymis Filippou, a copywriter whom he met through an advertising agency and who would become his long-term writing partner.

In 2001 Lanthimos worked on his first feature film, the comedy O kalyteros mou filos (My Best Friend), which he codirected with Lakis Lazopoulos, who wrote and starred in the film. The following year Lanthimos directed and cowrote (with Maria Skaftoura) the short film Uranisco Disco. He began to gain attention for his work in 2005 with the film Kinetta, an avant-garde drama that he wrote with Yorgos Kakanakis and which he shot with a handheld camera. The film was nominated for the Golden Alexander Award at the Thessaloniki Film Festival.

Dogtooth and Alps

His breakthrough came with his next film, Kynodontas (2009; Dogtooth), a psychological thriller that marked the first time he collaborated on a screenplay with Filippou. The story of three young adult siblings being kept prisoner by their manipulative father, Dogtooth won the Un Certain Regard prize at the Cannes film festival (the prize’s name loosely translates to “A Certain Look” and is typically awarded to up-and-coming filmmakers and daring, innovative new films). It was also nominated for an Academy Award in the foreign-language film category. Lanthimos and Filippou collaborated again, in 2011, on Alpeis (Alps), a drama about a group of people who start a business in which they impersonate recently deceased individuals in order to help their clients with the grieving process. It was nominated for the Golden Lion Award at the Venice Film Festival and won the award for best screenplay at that event.

With the release of these two films, Lanthimos was dubbed the leader of the “Greek Weird Wave,” the name given to a generation of Greek filmmakers who were known for offbeat, anti-commercial work. However, in his interview with This Cultural Life, Lanthimos called this characterization “limiting” and “a lazy way to label, well, a couple of [Greek] films in the beginning.” He also said, “I don’t think there was a like-minded approach [among Greek filmmakers] in terms of the creative aspect.”

The Lobster and The Killing of a Sacred Deer

In 2015 Lanthimos made his first English-language feature film, The Lobster, featuring a screenplay written with Filippou. Starring Colin Farrell and Rachel Weisz, the film centers on a dystopian society in which single people are made to check into a hotel where they must find a romantic partner within 45 days or else be turned into the animal of their choice. The film won the Jury Prize at Cannes, and Lanthimos and Filippou were nominated for an Academy Award for best original screenplay. In The Killing of a Sacred Deer (2017), Lanthimos and Filippou drew inspiration from Euripides’ tragedy Iphigenia at Aulis, in a story about a surgeon (played by Farrell) who must sacrifice a member of his family to remove a curse inflicted on them by a mysterious teenager (Barry Keoghan). The psychological thriller received the best screenplay award at Cannes and was nominated for the festival’s Palme d’Or.

The Favourite

Next, Lanthimos directed a film written by Deborah Davis and Tony McNamara called The Favourite (2018), about a love triangle between the British queen Anne (Olivia Colman) and two women who compete for her attention (Weisz and Emma Stone). Lanthimos made quirky choices for the film, including outlandish dance sequences and surreal scenes involving rabbits, ducks, and pomegranates. While the male actors wear elaborate wigs and thick makeup, the female leads wear natural hairstyles and no makeup. The script is filled with modern language and expressions that were anachronistic to the film’s 18th-century setting. During rehearsals, Lanthimos had his cast engage in games and exercises to encourage the actors’ creative expression and sense of comfort with one another. For example, cast members held hands and tied themselves up in a “human pretzel,” then untangled one another while reciting their dialogue. The Favourite was nominated for 10 Academy Awards, including best picture, director, and screenplay; Colman won the Oscar for best actress.

Poor Things

Lanthimos followed up The Favourite with two short films, Nimic (2019) and Bleat (2022), the latter of which was commissioned by the Greek National Opera. In 2023 he released Poor Things, a fantasy comedy-drama starring Stone as a pregnant young woman named Victoria Blessington who dies by suicide and is brought back to life by an eccentric scientist named Godwin (“God”) Baxter (Willem Dafoe), who renames her Bella. In a Frankenstein-like twist, the revived Bella has been implanted with the brain of her unborn child. As her brain develops and catches up with her adult body and desires, Bella embarks on a quest for sexual and intellectual fulfillment and radical independence. Featuring a screenplay by McNamara based on Alasdair Gray’s 1992 novel of the same name, Poor Things was praised for its elaborate steampunk sets and costumes and for its strong performances, in particular Stone as Bella and Mark Ruffalo as the buffoonish rake Duncan Wedderburn, who accompanies Bella on much of her quest. It won the Golden Lion Award at the Venice Film Festival and the Golden Globe Award for best musical or comedy motion picture. It also received 11 Oscar nominations, including best picture and director.

Other projects and filmmaking philosophy

Lanthimos has also directed stage plays and was part of the creative team that designed the opening and closing ceremonies of the Athens 2004 Olympic Games. In 2011 he produced and acted in Athina Rachel Tsangari’s film Attenberg. Often asked about the unsettling and strange stories found in his work, Lanthimos has said he has no interest in making “straightforward” films or movies that do not ask difficult questions. In 2023 he told the Los Angeles Times:

I couldn’t imagine myself making a film about something which was resolved and pleasant and positive. Because then what would be the point of making the film?