Kinds of Kindness is an ambitious anthology film that weaves together three distinct stories, each exploring the facets of control and its impact on our lives. The film’s nearly three-hour runtime allows Lanthimos to delve into surreal and thought-provoking territory.
- “The Death of R.M.F.”:
- Robert Fletcher (Jesse Plemons), a corporate lackey, follows every order from his controlling boss, Raymond (Willem Dafoe).
- Raymond’s latest directive—to murder someone with the initials R.M.F.—pushes Robert to the brink.
- Themes: Desperation, loss of agency, and the dehumanizing effects of corporate control.
Themes and Style:
- Control and Desperation: Lanthimos masterfully explores how control shapes our lives, often to our detriment. The film’s deadpan surrealism heightens the sense of unease.
- Dark Humor: The director’s signature style infuses the film with moments of dark humor, making it alternately hysterical and terrifying.
Character Development:
- Jesse Plemons delivers a stellar performance as Robert, capturing the desperation of a man who has never truly had control over his life.
Technical Aspects:
- Cinematography: The film’s visuals are striking, with Lanthimos using framing and composition to enhance the unsettling atmosphere.
- Score: The haunting score adds to the film’s tension and unease.
Strengths:
- Provocative Ideas: “Kinds of Kindness” overflows with ideas, even if they don’t fully coalesce into a cohesive whole.
- Performances: The ensemble cast, including Emma Stone and Willem Dafoe, brings their A-game.
Weaknesses:
- Fragmented Narrative: The anthology format may frustrate some viewers looking for a more straightforward narrative.
- Length: At nearly three hours, the film demands patience.
Verdict:
Kinds of Kindness is not for everyone. Its almost unbearable cruelty and surrealism will alienate some, but for fans of Lanthimos’ work, it’s a captivating exploration of control and the human condition. Worth recommending? Yes, but with a caveat: brace yourself for a challenging cinematic experience.
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