When I first heard about Yorgos Lanthimos’ latest venture, VISCIN, I couldn’t help but feel a mix of intrigue and anticipation. Lanthimos, a filmmaker known for his surreal and often unsettling narratives, has always been a master of visual storytelling. But what makes this particularly fascinating is his decision to step away from the moving image and into the realm of still photography. It’s as if he’s inviting us to pause, to linger in the moments he’s so meticulously crafted. VISCIN, a photobook shot on the set of his upcoming film Bugonia, isn’t just a companion piece—it’s a standalone work that challenges our expectations of what a film’s visual universe can be.
One thing that immediately stands out is the book’s physical design. Lanthimos and MACK Books have created a sculptural object with an accordion fold, mimicking the unspooling of a film reel. This isn’t just a book; it’s an experience. As you unfold the pages, you’re drawn into a visual journey that transitions from stark black-and-white to vivid color. What this really suggests is that Lanthimos isn’t just a filmmaker—he’s a visual artist who understands the tactile and emotional power of physical media. In an age where digital dominates, this feels like a deliberate and bold statement.
The images themselves are a departure from the narrative constraints of Bugonia. Lanthimos uses offbeat compositions, uncanny portraiture, and evocative landscapes to explore themes of mystery, illusion, death, and renewal. Personally, I think this is where his genius lies: in his ability to create worlds that feel both familiar and alien. These photographs aren’t just behind-the-scenes snapshots; they’re a meditation on the human condition, stripped of dialogue and plot. What many people don’t realize is that still images can often convey more than motion ever could—they freeze time, allowing us to dissect and interpret at our own pace.
The accompanying exhibition, Yorgos Lanthimos: Photographs, at Onassis Stegi in Athens, is a testament to his growing body of photographic work. Curated by Michael Mack, it brings together 182 images from the past five years, including works from his previous publications Dear God, the Parthenon Is Still Broken and i shall sing these songs beautifully. If you take a step back and think about it, this exhibition isn’t just a showcase of his photography—it’s a window into his creative process. How does a filmmaker’s eye translate to still images? What does it reveal about his approach to storytelling? These are the questions that make this exhibition so compelling.
What makes Lanthimos’ foray into photography even more intriguing is its timing. With Bugonia set for release in 2025, VISCIN and the Athens exhibition feel like a deliberate expansion of his visual universe. It’s as if he’s saying, ‘Here’s the film, but here’s also what lies beyond it.’ This raises a deeper question: Are we witnessing the evolution of a filmmaker into a multidisciplinary artist? From my perspective, Lanthimos is blurring the lines between cinema, photography, and even sculpture, creating a body of work that defies categorization.
A detail that I find especially interesting is the spontaneity with which VISCIN was created. The images were shot between takes on the Bugonia set, yet they feel anything but improvised. This speaks to Lanthimos’ ability to find beauty and meaning in the mundane, to transform the ordinary into something extraordinary. It’s a skill that’s rare in any artist, and one that makes his work so captivating.
As I reflect on VISCIN and the broader implications of Lanthimos’ photographic endeavors, I can’t help but wonder what this means for the future of visual storytelling. Are we moving toward a more integrated approach, where film, photography, and even book design merge seamlessly? Or is Lanthimos simply carving out a niche that only he can occupy? Either way, one thing is clear: his work continues to challenge, inspire, and provoke.
In the end, VISCIN isn’t just a photobook—it’s a manifesto. It’s Lanthimos declaring that the boundaries between mediums are fluid, that storytelling can take any form, and that the visual language he’s developed is boundless. Personally, I think this is just the beginning. As he continues to explore new territories, I can’t wait to see where he takes us next. Because with Lanthimos, the journey is always as important as the destination.
