Review: ‘Kinds of Kindness,’ made by a filmmaker desperate to seem cool again, tests cultdom and patience

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As a dedicated cinephile with decades of film viewing under my belt, I’ve been following Yorgos Lanthimos’ career with great interest and admiration. His unique voice and unapologetic exploration of human nature have left an indelible mark on cinema. However, his latest offering, “Kinds of Kindness,” leaves me feeling disturbed and somewhat underwhelmed.

Shockmaster Yorgos Lanthimos is troubled by mainstream acclaim. His recent films, “Poor Things” and “The Favourite,” took the film industry by storm, earning 21 Academy Award nominations and wins for leads Emma Stone and Olivia Colman. This unexpected recognition catapulted Lanthimos into the ranks of renowned female directors, joining the likes of George Cukor. However, the avant-garde auteur may feel uneasy amidst this newfound acceptance, having built his career on challenging conventional norms.

Lanthimos breaks free from conventional norms in “Kinds of Kindness” with three contemporary stories exploring the terrifying desire for validation. Set in grim corners of Louisiana, these tales unfold as a series of harsh sketches featuring a demanding life coach, a suspicious spouse, and a rigid sex cult. The ensemble cast, led by Jesse Plemons, Willem Dafoe, and Stone, is joined by Hong Chau, Joe Alwyn, Mamoudou Athie, and Margaret Qualley, each taking turns to inflict pain on one another.

Love is manipulated, acceptance comes with strings attached, and true autonomy remains an elusive dream. “Dogtooth” and “The Lobster,” two of Lanthimos’s groundbreaking works, explored these ideas in more captivating ways – darker, funnier, and with a faster pace. This new film, “Kinds of Kindness,” clocks in at nearly three hours and leaves me yearning for something new. Instead, I’m met with dull, dragging narratives that feel like tedious limericks from an unwelcome storyteller.

Why do we blindly follow established norms? His works explore how people are manipulated into compliance. Only Bella Baxter in “Poor Things” defies this pattern since her mind hasn’t learned to conform. Essentially, Lanthimos encourages us to question those imposing the rules and uncover any hidden hypocrisy. For instance, Dafoe’s character demands Plemons to gain weight while mocking thinness.

Willem Dafoe and Margaret Qualley in the movie “Kinds of Kindness.”
(Atsushi Nishijima / Searchlight Pictures)

Colin Farrell with his expressive eyebrows and Tilda Swinton, whose wide-eyed gazes seem to reveal the secrets of the universe.

It’s not surprising that Lanthimos remains faithful to his preferred collaborators. In “Kinds of Kindness,” his second film with Dafoe and Alwyn, and third with Stone, Qualley seamlessly fits into the cast. Her playful demeanor adds an excellent touch to the production. During a tense dinner scene, there’s a brilliantly crafted moment where her anxiety is palpable as the conversation shifts towards a home video she’d rather avoid. The scene transitions to the explicit footage, leaving you sympathizing with her and bursting into laughter.

In a different interpretation, “Kindness” doesn’t suit Plemons’ enigmatic acting style in Yorgos’ films. Plemons shines when we are left guessing if his character is harmless or dangerous, dumb or manipulating, beneath that heavy brow. His ambiguity keeps us on the edge, whether as a rogue soldier in “Civil War” or an awkward divorcee in “Game Night.” However, in this production, two out of Plemons’ three characters – both victims and perpetrators – make decisions that should have impacted strongly. Instead, they appear dull and predictable, the anticlimax to a familiar joke. Nonetheless, the hairstyling team deserves recognition for creating three distinct and vibrant hairdos: an unimpressive sweep, a menacing buzz cut, and a monk-like shave.

The film focuses intensely on the physical aspect, critiquing weight, dimensions, and fluids to emphasize that we’re merely flesh bags filled with excitement. Characters frequently visit hospitals instead of seeking mental help, preserving the narrative’s intrigue. The aesthetic is strict, gloomy, and reminiscent of institutions, with a pale color scheme akin to sickly bathwater. Cinematographer Robbie Ryan enjoys filming decapitations just above the nose or lengthy takes of feet, providing close-up intimacy for flossing or passionate French kisses. The unconventional framing results in humorous moments, such as when Dafoe, during a sharp exchange with Plemons where he crushes each spoken word, stands up unexpectedly, revealing that the formidable negotiator wears schoolgirl socks.

Jerskin Fendrix’s music score is as minimalist in its simplicity. Occasionally, the piano repeats a single note relentlessly, evoking the sensation of a persistent alarm. At climactic moments, it creates a surprise, reminiscent of a startled cat pawing at the keys. The initial burst of Eurythmics is intended to persuade us we’re having fun. Similarly, Stone’s solo dance sequence seems an unnecessary addition, like a quirky distraction inserted with the hope of making the film trend on TikTok.

I’ve watched “Kinds of Kindness” twice now, and each time I found myself deeply introspective as I pondered my own personal limits. The film certainly challenged me, not through its portrayal of this cruel and manipulative society, but by putting to the test my long-held belief in the genius of its director, Lanthimos. Like a devoted fan, I felt like he was pushing me away to see if I would still be loyal without all the accolades. I suspect that he is acutely aware of this film’s shortcomings and, if you truly want to touch his heart, you could call it a masterpiece.

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2024-07-18 18:43