As a seasoned film enthusiast who has spent countless hours in dark cinemas, I must confess that Yorgos Lanthimos’ latest offering, “Kinds of Kindness,” left me feeling more bewildered than enthralled. While I appreciate his unique vision and undeniable talent as a director, his films often seem to be lost in their own quirks, leaving little room for emotional engagement or narrative coherence.
I’d love for a new Yorgos Lanthimos film to spark the same enthusiasm in me as it does for others, but unfortunately, I rarely find myself connecting with his work. Despite my best efforts, I often struggle with his themes and even feel repelled by some of his excessive elements. There’s no denying his immense cinematic talent, but sometimes, I think he hinders his own storytelling potential, especially since he’s working independently without any restrictions.
In contrast to “Poor Things” from last year, Lanthimos’ latest production, “Kinds of Kindness”, is less overwhelmingly tedious. However, it becomes increasingly aggravating as the story progresses. Much like other works attributed to him, this film falls under the category often referred to as the “Greek Strange Cinema Movement”. As with any Lanthimos movie, “Kinds of Kindness” is visually captivating, and his skill with cinematography ensures there’s always something intriguing to observe. However, similar to past projects, Lanthimos seems overly engrossed in his peculiar themes, which hinders the creation of a more enjoyable viewing experience.
“Kinds of Kindness” – A 164-minute exploration of disillusionment and skepticism, presented as a witty satirical trilogy by a director who appears to derive pleasure from harshness. The movie presents three unique narratives, each featuring the same actors portraying various characters. This is an excruciatingly bleak and arid dark comedy that finds humor in its own quirkiness without actually being funny. However, its main flaw lies in its complete absence of empathy or heart.
“The Demise of R.M.F.” – This narrative centers around a man named Robert Fletcher (Jesse Plemons), who is a nervous and awkward individual, easily manipulated by his overbearing boss, Raymond (Willem Dafoe). He’s instructed on what tasks to perform, what clothing to wear, how much to eat, and even when to be intimate with his wife Sarah (Hong Chau). However, when Robert is commanded to collide his vehicle into a man identified only by the initials R.M.F., his already bizarre life takes an even more peculiar twist.
In the following narrative, titled “R.M.F. is Flying”, Plemons portrays Daniel, a police officer whose wife Liz (Emma Stone) mysteriously vanishes during a sea outing. Shock ensues when Liz returns unscathed after an extraordinary rescue. Overjoyed to have his spouse back, Daniel starts noticing peculiar occurrences that make him doubt her identity. Despite his best friend Neil (Mamoudou Athie) suggesting he’s being overly suspicious, Daniel remains unconvinced. The ensuing events take a dark turn, becoming both bizarre and largely meaningless.
Lastly, there’s the peculiar title “R.M.F. Eats a Sandwich.” In this story, Emily (Stone) and Andrew (Plemons) belong to an eccentric seaside cult, led by Omi (Dafoe) and his wife Aka (Chau). Their objective is to find a unique woman who can resurrect the deceased, though specifics aren’t crucial. Emily covertly departs to bestow gifts on her child she abandoned, which results in the film’s sole display of genuine emotion. However, this moment is fleeting, and once again, Lanthimos delves into tormenting both his characters and viewers.
In essence, all three narratives present similar challenges, with the most significant issue being that none of the on-screen characters appear human-like. These characters seem devoid of emotions and lacking a clear objective beyond serving as fodder for Lanthimos’ unique style of filmmaking. Even with a gifted and dedicated cast, they struggle under Lanthimos’ relentless pursuit of artistic intensity. While there are intriguing concepts introduced, they become obscured as the stories deteriorate, and what initially seemed like an engaging movie evolves into a disconnecting endurance test.
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2024-09-06 18:56