The Killing Of A Sacred Deer

16th November, 2017 (MA15+)
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  • Director Yorgos Lanthimos
  • Cast Nicole Kidman, Alicia Silverstone, Colin Farrell
  • Duration 121 min
  • Rating MA15+
  • Genre Drama, Horror, Mystery
  • Participating Cinemas Palace Balwyn, Palace Brighton Bay, Palace Central Sydney, Palace Centro Brisbane, Palace Cinema Como, Palace Electric Cinema, Palace Verona, The Kino

Synopsis

Dr. Steven Murphy (Colin Farrell) is a renowned cardiovascular surgeon presiding over a spotless household with his ophthalmologist wife Anna (Nicole Kidman) and their two exemplary children, 12-year-old Bob (Sunny Suljian) and 14-year-old Kim (Raffey Cassidy). Lurking at the margins of his idyllic suburban existence is Martin (Barry Keoghan), a fatherless teen who Steven has covertly taken under his wing. As Martin begins insinuating himself into the family’s life in ever-more unsettling displays, the full scope of his intent becomes menacingly clear when he confronts Steven with a long-forgotten transgression that will shatter the Murphy family’s domestic bliss.

Yorgos Lanthimos has crafted a sensational thriller brimming with unsettling humour and creeping dread, steeped in Greek tragedy, Hitchcockian psychodrama, and riveting suspense. Darting confidently between genres to subvert our expectations at every turn, The Killing of a Sacred Deer firmly cements Lanthimos in the pantheon of world-class auteurs and marks him as a cinematic provocateur without precedent.

Steven (Farrell) is a highly regarded, charismatic cardiologist from Cincinnati, living in a prosperous suburban paradise with his beautiful wife Anna (Kidman) and two loving children. But his world is upended when his strangely intense friendship with a teenage boy (Barry Keoghan, last seen in Mammal, MIFF 2016) takes a sinister turn, and the doctor is forced to confront an unthinkable sacrifice.

MIFF favourite Yorgos Lanthimos and regular co-writer Efthymis Filippou (The Lobster, MIFF 2015; Alps, MIFF 2012) return to the festival with a film that draws its inspiration from Euripides’ Iphigenia in Aulis, while intensifying the director’s idiosyncratic taste for deadpan humour and unsettling provocation.

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