Yorgos Lanthimos can be polarising. Even among his own fan-base, his films can be divisive. Recently, something of a split has emerged between fans of his “old stuff” (like Dogtooth and The Lobster) and those of his “new stuff” (The Favourite and Poor Things). I’m a bit on the fence here, because I’m certainly a fan of the “old stuff” but I enjoyed The Favourite too. However, I had a lot of problems with Poor Things. Anyhow, if you’re into “classic” Lanthimos, you’ll be very pleased to know that Kinds of Kindness sees him back in that territory (which might have something to do with him re-teaming with screenwriter Efthimis Filippou).
Lanthimos is never one to take the safe option. Kinds of Kindness is a sprawling yet intimate film (in three parts) that’s a bit like The Lobster on steroids. The film doesn’t just ask big questions, it asks confronting, uncomfortable questions: the kind of questions that don’t have easy – or perhaps, any – answers. And while many will find that frustrating, that complexity and weirdness made this really compelling for me.
Kinds of Kindness could be read as a reaction by Lanthimos to some of the criticism that came his way over Poor Things; but since production began at least a year before that film was released, it seems unlikely. It does however mark a return to his trademark style – which includes flat delivery his actors’ lines and deftly handled touches of the absurd.
Although the film is in three parts, each delivering a very different story, the main cast appear in all three chapters as different characters. The only unchanging character is an enigmatic figure known only as R.M.F. (Yorgos Stefankos), who appears fleetingly in each section. A more solid connection lies in the themes being explored. In all three chapters, the protagonist is searching for something, though what that is might not be exactly clear.
In the first section – “The Death of R.M.F.” – Robert (Jesse Plemons) is an employee whose life is controlled in minute detail by his rather creepy boss Raymond (Willem Dafoe). But when Raymond asks Robert to do something outrageous and dangerous, Robert refuses. That leads to Raymond cutting him off entirely. Robert soon realises how dependent he was on Raymond – and how much he liked the order (however bizarre) it brought to his life. So he takes steps to redress the situation.
In “R.M.F. is Flying”, Plemons plays Daniel, a police officer whose oceanographer wife Liz (Emma Stone) is missing at sea. Just when it seems all is lost, Liz is rescued. When she returns home however, Daniel feels something is amiss. He begins to suspect the woman in his house is not his wife at all, but an imposter. He decides to test her to uncover the truth.
The third section, “R.M.F. Eats a Sandwich”, sees Stone and Plemons as Emily and Andrew. They’re members of a cult run by Omi (Dafoe) and Aka (Hong Chau). They’ve been sent on the road for a mission to find a very special person, whom the cult believes exists. Emily left her husband Joseph (Joe Alwyn) and their daughter to join the cult. Emily’s travels however take her into the neighbourhood where her family still lives. A chance encounter with them challenges Emily’s commitment.
The three sections are out of order chronologically, but the order makes sense thematically. In typical Lanthimos fashion, he ramps up both the stakes and the intensity. While the first segment conceivably could happen in reality, the third and (particularly) the second include metaphysical, if not outright supernatural, elements. And the film features at least five intensely confronting scenes – so be warned. It’s also two and a half hours long (and change), so again – be warned. But it also features many extraordinary sequences, including a *very* awkward dinner party, and Emily’s “freak dance” (featured in the trailer). And stay through the credits for a small but important coda.
Stunning performances from an excellent cast elevate the already rich material. Emma Stone and Jesse Plemons in particular are just brilliant; ably supported by Willem Dafoe (Asteroid City), Hong Chau (The Menu), Margaret Qualley (Drive-Away Dolls) and Mamoudou Athie (Jurassic World: Dominion). They all deliver amazing individual performances, but thanks to Lanthimos’ direction and some quality editing, they all come together into a greater whole. Also notable are some gorgeous cinematography from Robbie Ryan (C’mon C’mon) and a remarkable soundtrack which offsets instantly recognisable pop songs with Jerskin Fendrix’s angular and unsettling original score.
But what does it all mean? Well, as noted at the outset, Kinds of Kindness doesn’t offer any easy answers. So what meaning you take from it will be up to you. Which is something this extraordinary film has in common with the very best cinema.
David Edwards
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David Edwards is the editor of The Blurb and a contributor on film and television