Brilliant, dark and disconcertingly funny. One of the most distinctive, original and genuinely unsettling pieces of cinema to emerge over the past year.
A black-comic poem of dysfunction...this brilliant and bizarre film from the Greek director Yorgos Lanthimos is superbly acted and icily controlled – it grips from the very first scenes.
The most stylish and entertaining family drama of the week, but also by some way the grimmest. Lanthimos follows through the situation – part Josef Fritzl, part philosophical experiment – with appalling logic, assisted by an excellent cast.
As harrowing as it is humorous, Lanthimos’ award-winning journey to a family’s heart of darkness is unflinchingly detailed, thought-provoking fare.
…the Greek helmer's sophomore pic does exude a strange fascination throughout.
The movie is a cool, eerie commentary on family dynamics and the dangerous power of adolescent sexual curiosity.
Somewhere up in the heaven he didn’t believe in, Buñuel is doubtless smiling approvingly.
Gavin Smith, Film Comment
Winner of the Prix Un Certain Regard at Cannes, it will be branded by some as a highly significant statement and by others as a laborious, long-winded cerebral allegory.
Dan Fainaru, Screen Daily
The geometric framing and odd, almost robotic performances place this in the realms of science fiction more than human drama, but its insights into the anomalies of power, influence and manipulation are penetrating to say the least. Highly recommended.
Time Out London
Dogtooth is a delightfully twisted little fable from Greek filmmaker Yorgos Lanthimos, with all the markings of a cult classic. Lanthimos elevates the material far above the mere exploitative, constructing a uniquely surreal yet oddly believable alternate universe amidst that Lynchian jungle of menace, the suburban backyard.
Seth Abramovic, Movieline
Dogtooth is a darkly comic and imaginative film and a deserved winner of the Prix Un Certain Regard at the Cannes Film Festival.
Arion McNicoll, TheTimes
Having made out this unexpectedly funny scenario as a far grimmer proposition than it actually plays, Dogtooth in its cool detachment and highly stylised vignettes is too much of a movie for its ugliness to be taken seriously. Lanthimos has filmed something of a Wes Anderson look-a-like, preened and lustily shot, and yet with the glacial mundaneness of a Michael Haneke tableaux.
The Lumière Reader