Following the more ‘normal’ perspectives of ‘The Favorite’ and ‘Poor Things’, Yorgos Lanthimos returns once again to being a provocateur. Targeting more toward his previous outlandish works like “The Lobster”, “Dogtooth” and “The Killing of a Sacred Deer,” the latest film reunites longtime collaborators Efthimios Filippo, who co-wrote the aforementioned films, with Yorgos Lanthimos. It looks at various aspects of control, its struggle in our society, and our control over how much it affects our day to day passion in living a fulfilling life.
“Kinds of Kindness,” in and of itself, is a compendium of styles and ideas that, one gets the impression, together comprise three films that Lanthimos and Filippo are unable to turn into features. So, they felt compelled to combine them into one anthology study that lasts nearly three hours. Attempts to explain what connects the individual films at the thematic level can be rather disappointing. However, this is not to say that the films are without direction, and the stunning language of the director is quite a constant in their body of work, which seems to seamlessly combine elements of dark comedy with horror even when it is attempting to make sense. Even the eclectic nature of the project reinforces the adage that if you try and do too much, you’ll more than likely not produce anything coherent.
Nevertheless, the audacity of the project wins the day, plus a cast that is once again ready to show their best in what appears to be a well balanced piece of directing martial.
The first of three films within a film is playful even in its title: “The Death of R.M.F.” It’s not long before one realizes a few character’s initials would look very well placed on that monogram, and wonders who this alludes, further with the introduction of a character with them on his chest. It could be him, but let’s face it: Lanthimos is not the type of filmmaker that would easily give us everything we want, which is why the central character has to be Robert Fletcher (Jesse Plemons), corporate apologist to all attacks on his professional integrity by Raymond (Willem Dafoe). However, as with all Lanthimos works, it is that this specific filmmaker takes an ordinary idea then tips it to its narrative rate to make a point out of it. You think your boss is insistent? Raymond orders Robert through almost all his waking hours, even when to have dinner, or when to have sex with his wife, Sarah (Hong Chau). Seeing how it would ruin his working schedule, he even encourages Robert to get his wife drunk in order for her to have an abortion, leaving them childless.
Robert’s challenges start with the first-degree murder being so egregious a term in his ears despite Raymond accusing the dead of willing the crime. Robert’s bravery is what ruins his existence in the eyes of the monster, as a return to sanity sends panic of being usurped in the world that he feels like a piece in. Plemons is here outstanding, showing such despair stances of men who never really controlled their affairs and the extremes of change. Plemons immerses the audience into the Lanthimos and Filippo’s concept by portraying an emotional spiral which enables the chapter “The Death of R.M.F.” to be the most entertaining of the three chapters. This is the one that also supports the central idea: control and unable to keep control. The case of Robert and Sarah should be understood in this light as they are presented with many artifacts including a broken tennis racket and a crushed helmet of famous John McEnroe and Ayrton Senna respectively the symbols of lost control.
The focal point is elaborated (and quite perplexingly so, in this case) in the middle chapter, ‘R.M.F. Is Flying.’ Plemons reappears as Daniel, a different register, who at first looks almost delusional with despair awaiting the return of his wife, Emma Stone, presumed lost at sea in a chopper crash. His tormenting on thoughts to look for her takes a toll on his profession and relationship with others. But when she comes back, rather abruptly upon a stranger’s door, he appears too eager to guard his fantasies, too quickly pretending she is not indeed the missing spouse. He continually demands her to demonstrate her existence in the world and demonstrate her faithfulness to him, moving into rather sickening and violent acts. Out of three films, ‘R.M.F. is Flying’ was the least thematically developed and lack behind the story arc of the films, but Plemons again manages to wow us with his performance.
Finally, there is also the more gastronomical “R.M.F. Eats a Sandwich” that the fans of the trilogy might say completes the trifecta with a theme of subjugation of free will the case with the domineering employer in the first, the dress wearer in the second and now a religious sect that seeks to achieve the opposite of death in the last installment. Emily (Stone) and Andrew (Plemons) are members of the cult led by Omi, a character played by Dafoe and Aka (Chau) who is his watเชียง, seeking a woman with unknown features who can bring back the dead. Eventually, after Emili sees in her visions a woman named Rebecca (Margaret Quale) who she thinks is the one, she becomes determined to find out if that is indeed the case. But she also cannot forget about the place she has left, her daughter included, and the horrifyingly violent husband Joe Alwyn. Once again, cults are all about control, and Lanthimos is able to fully embrace the madness and the weirder darker aspects of the story.
Conceptual ping pong which a reader can play while reading an essay is also rather fun and interesting. However, most critiques overlook the way in which the film draws us in in an intuitive but also organic manner, like some of his better works. Thanks to Plemons is not just great but easily more than two of the top three TV performances “Kinds of Kindness” also gets some cohesion. However, I felt, perhaps there is an older version of ‘Lanthimos film’ before the world recognized him as an artist, a more captivating film, lifted by the tension that comes with less complete creative autonomy. No one should be able to dictate how you create and what your vision is. But is that always good?
After winning Oscars for his last two films and most likely going back to this kind of prestige film making, “Kinds of Kindness” will in all solicitude be perceived in retrospect as a digression in what I presume is the beginning of a long line up of remarkable films. And even if it is what is going to be such a minor role, hopefully, it is there to demonstrate that Lanthimos feels no need in being desperate, comfortable with his voice that he is willing to let himself go in order to pursue what he wants regardless of whether anyone goes with him.
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