In “Kinds of Kindness,” Yorgos Lanthimos serves up a heady cocktail of existential dread, dark humor, and the perverse complexities of human nature. This anthology film, presented as a triptych of loosely connected stories, sees Lanthimos returning to his roots with longtime collaborator Efthimis Filippou. What emerges is a challenging, provocative, and at times bewildering exploration of control, submission, and the desperate human craving for love and acceptance.
At the heart of “Kinds of Kindness” are three tales that, while distinct, echo each other with unsettling familiarity. Each segment stars the chameleon-like Jesse Plemons in various guises, from a submissive businessman to a paranoid cop, and finally, a cult follower. His performances anchor the film, providing a throughline of twisted vulnerability and obsessive devotion that feels as if one man is splintered into three distinct psyches.
The first story, “The Death of R.M.F.,” introduces us to Robert (Plemons), an office worker under the thumb of his domineering boss Raymond (Willem Dafoe). Robert’s life, dictated down to the minutiae by Raymond, spirals into chaos when he is asked to commit murder. Plemons’ portrayal of Robert’s descent into madness and desperation is both compelling and tragic, as he grapples with his need for approval against the cost of his autonomy.
In “R.M.F. is Flying,” Plemons takes on the role of Daniel, a police officer who becomes convinced that his wife, Liz (Emma Stone), who was once lost at sea, has been replaced by an impostor. This segment dives deep into themes of identity and trust, with Stone delivering a haunting performance as a woman whose every action is scrutinized and doubted. Lanthimos ratchets up the tension, leading to a series of macabre tests Daniel devises to prove her loyalty, making the audience question the very fabric of reality alongside the characters.
The final segment, “R.M.F. Eats a Sandwich,” sees Plemons as Andrew, a cult member tasked with finding a prophesied healer. Emma Stone reappears as Emily, a fervent disciple whose unwavering faith in their mission drives the narrative. The cult’s leaders, played with eerie charisma by Dafoe and Hong Chau, weave a narrative of spiritual purity and control that ensnares their followers. This chapter’s surreal and often absurd events are a testament to Lanthimos’ ability to meld the bizarre with the deeply human, pushing the boundaries of his storytelling.
“Kinds of Kindness” is a visual and thematic feast, shot by DP Robbie Ryan with a stark and meticulous eye. The film’s unsettling score by Jerskin Fendrix adds to its disorienting atmosphere, creating a soundscape that is as unnerving as the stories themselves. Lanthimos’ direction is precise, his darkly comedic touch evident in every twist and turn, making the film a unique experience that defies easy categorization.
The anthology format allows Lanthimos to dissect his usual obsessions power dynamics, the malleability of reality, and the grotesque lengths we go to in search of connection through a prismatic lens. Each story, while self-contained, reflects and refracts the others, creating a kaleidoscopic view of the darker aspects of human nature.
However, “Kinds of Kindness” is not without its challenges. Its nearly three-hour runtime and the enigmatic nature of its storytelling may test the patience of some viewers. The film’s pacing, especially in the second segment, can feel sluggish, and its deliberate ambiguity might leave some feeling more puzzled than satisfied.
Yet, this is precisely where Lanthimos excels. He doesn’t offer easy answers or tidy resolutions. Instead, he invites his audience to sit with the discomfort, to laugh at the absurdity, and to ponder the disturbing truths hidden beneath the surface of human interactions.
“Kinds of Kindness” is a testament to Yorgos Lanthimos’ unwavering commitment to his unique vision. It’s a film that challenges, provokes, and ultimately rewards those willing to engage with its darkly comedic and unsettling depths. For fans of Lanthimos’ earlier works like “Dogtooth” and “The Lobster,” this film will feel like a homecoming albeit one fraught with the delicious discomfort that only he can provide.