After the premiere of Kinds of Kindness at Cannes, it is clear that Yorgos Lanthimos, often regarded as a master of surrealism and absurdity, remains a singular force in contemporary cinema. His latest film, Kinds of Kindness, is no exception, weaving a tapestry of dark chaos that is both bewildering and captivating. Lanthimos, a leading figure in the Greek Weird Wave, continues to challenge conventional storytelling, immersing audiences in a world where control, power, and submission dance in a surreal symphony.
Yorgos Lanthimos, often regarded as a master of surrealism and absurdity, stands out in the dark world of contemporary cinema. His latest film, Kinds of Kindness, is no exception, weaving a tapestry of dark chaos that is both bewildering and captivating. Lanthimos, a leading figure in the Greek Weird Wave, continues to challenge conventional storytelling, immersing audiences in a world where control, power, and submission dance in a surreal symphony.
Kinds of Kindness unfolds as a trilogy of stories, each more unsettling than the last. The film begins with The Death of R.M.F., introducing us to Robert, played masterfully by Jesse Plemons. Robert’s life is a meticulously arranged nightmare dictated by his boss, Raymond (Willem Dafoe). Every aspect of Robert’s existence, from his daily schedule to his personal decisions, is controlled with an iron fist. This segment offers a chilling exploration of corporate domination, revisiting a theme Lanthimos examines with his unique blend of dark humor and brutal realism.
The narrative then shifts to R.M.F. Is Flying, a tale of paranoia and psychological torment. Here, Plemons reappears as a husband haunted by the mysterious return of his wife (Emma Stone). The atmosphere is fraught with distrust and existential dread as Lanthimos delves into the fragility of identity and the insidious nature of psychological control in marriage. Stone’s performance is a masterclass in ambiguity, pulling viewers into the same disorienting questions of reality as her tormented husband.
Finally, we are thrust into the ominous world of R.M.F. Eats a Sandwich, where a cult led by the enigmatic Oumi (Dafoe) seeks to resurrect the dead. Emily (Stone) and Andrew (Plemons) navigate a labyrinth of bizarre rituals and convoluted beliefs, reflecting Lanthimos’ fascination with the extremes of ideological control. The cult’s quest is as much about power as it is about faith, showcasing Lanthimos’ ability to merge surrealism with existential themes.
Lanthimos’ latest work is deeply rooted in the Greek Weird Wave, a movement born out of Greece’s financial crisis. Known for its use of absurdism and surrealism to critique social norms and power structures, this cinematic wave is fully embodied in Kinds of Kindness. The film presents a disorienting landscape where the boundaries of reality are constantly blurred. Lanthimos employs static shots and unsettling camera angles to create a sense of perpetual surveillance and control, echoing the visual aesthetics of his earlier works such as Dogtooth and The Lobster. Continuing this sense of continuity, Lanthimos once again collaborates with Efthymis Filippou, the co-writer of Dogtooth. This partnership solidifies Kinds of Kindness as a powerful contribution to the tradition of Greek cinema, characterized by their shared interest in exploring the absurd and the grotesque. Unlike his larger, more recent productions like Poor Things, this film narrows its focus, delving deeply into fears surrounding control and power.
Beneath its surreal surface, Kinds of Kindness delivers a sharp critique of contemporary society. The corporate domination in The Death of R.M.F. reflects anxieties about workplace culture and the erosion of personal autonomy. The fragile trust depicted in R.M.F. Is Flying highlights societal concerns about identity and psychological manipulation, while the cult dynamics in R.M.F.
Eats a Sandwich serve as a cautionary tale about the power of ideology and charismatic leadership. Michel Foucault’s theories on power provide a lens through which Lanthimos’ critique can be understood. Robert’s transformation into a “docile body” under Raymond’s control exemplifies Foucault’s concept of disciplinary power, where strict routines and regulations shape individuals. The psychological manipulation in R.M.F. Is Flying illustrates the extension of control into the most intimate aspects of human existence. The cult’s sovereign power in R.M.F. Eats a Sandwich, embodied in the character of Oumi, represents the extremes of ideological manipulation.
However, Kinds of Kindness is not without its flaws. The anthology format, while allowing for a variety of stories, can result in a sense of disjointedness. Some viewers may struggle to connect with new characters and narratives at the start of each segment. The film’s nearly three-hour runtime can feel overwhelming, and its dark, nihilistic tone might be perceived as excessive. Additionally, the film’s visual style occasionally lacks the specificity and precision that defined Lanthimos’ earlier works. There is also a palpable sense that Lanthimos is consistently striving to shock and provoke his audience. While this approach is a hallmark of his films, it has not resonated with all critics, some of whom have found the film’s dark humor and surreal twists more exhausting than thought-provoking, arguing that its relentlessness can feel more punishing than illuminating.
Despite these shortcomings, Kinds of Kindness remains a powerful addition to Lanthimos’ oeuvre. The film challenges audiences by confronting uncomfortable truths about control and power in contemporary life. Lanthimos pushes boundaries, solidifying his position as a master of chaos and the surreal. His latest film stands as a testament to the enduring power of the Greek Weird Wave, a movement bold enough to question the very fabric of reality itself.
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