Kinds of Kindness Movie Review

Kinds of Kindness Movie Review: If our world should one day cease to exist, and some improved civilization from another galaxy stumbles upon our popular culture and seeks to understand all the fuss about Emma Stone — well, we now have the film clip they should see. She’s not even speaking, so translating Earth language won’t be an issue. She’s simply dancing. It’s toward the end of her latest collaboration with Yorgos Lanthimos, the challenging, intriguing, perplexing-if-not-downright-infuriatingly-opaque “Kinds of Kindness.” Stone is doing an improvised victory dance, and it’s glorious. What’s clear is that the Stone-Lanthimos pairing, in their third feature together, is continuing to nurture an aspect of Stone’s talents that increasingly sets her apart: her fearlessness and the obvious joy she derives from it.

A Glimpse into Stone’s Fearlessness

Emma Stone has consistently proven herself as a versatile actress, capable of delivering performances that range from deeply emotional to delightfully comedic. However, in “Kinds of Kindness,” she takes on a role that demands an entirely different kind of bravery. Stone’s ability to immerse herself into the peculiar worlds Lanthimos creates is evident, showcasing her willingness to push boundaries and explore the depths of her craft. The scene where she performs an improvised dance encapsulates this perfectly — it’s a moment of pure, unfiltered expression that transcends language and narrative.

The Enigmatic “Kinds of Kindness”

So what is “Kinds of Kindness”? Directed by Yorgos Lanthimos and written by Efthimis Filippou, this film is a triptych — three mini-films with the same cast, exploring different stories and themes. The film brings together a solidifying troupe of Lanthimos regulars, including the ever-distinctive Willem Dafoe, Jesse Plemons, who won the best actor prize at Cannes, Hong Chau, Margaret Qualley, Mamoudou Athie, and Joe Alwyn. Each segment runs close to an hour, creating a nearly three-hour-long film that delves into themes of free will, subjugation, and the perverse comfort some find in being controlled.

Segment One: The Tight and Impactful Opening

The first segment is easily the tightest, most entertaining, and impactful of the three. It follows Robert, portrayed by Jesse Plemons, who works for a shady business run by Raymond (Willem Dafoe). Raymond controls every aspect of Robert’s life — from what he eats, drinks, and wears, to where he lives with his wife, who is also hand-chosen for him. Raymond even dictates their sex life and family planning. Robert finds a twisted sense of comfort in this control, receiving bizarre gifts like a smashed John McEnroe racket. This arrangement works until Raymond asks Robert to commit manslaughter. When Robert underperforms and gets fired, his obsession with regaining his boss’s favor drives him to extreme lengths.

Segment Two: Stone Takes Center Stage

Emma Stone’s character, Liz, appears 40 minutes into the film, initially as a minor cog in the same oppressive system. In the second segment, Liz is the beloved wife of Daniel, a suburban cop played by Mamoudou Athie. Liz, a scientist, has vanished during a sea voyage — she’s “traveled the world and the seven seas,” to borrow a line from the Eurythmics song that frames the film. When she is finally rescued and returns home, Daniel starts suspecting that she’s not really Liz. Despite her identical appearance, her shoes don’t fit, she suddenly likes chocolate, and she can’t remember Daniel’s favorite song. Daniel subjects her to a series of increasingly cruel tests to determine her identity, and for reasons unknown, Liz complies.

Segment Three: The Cult and the Quest for Redemption

In the final segment, the narrative shifts to a cult where the only liquid members can drink is sanctified by the tears of their creepy leader Omi and his wife Aka. Stone and Plemons reunite as cult members tasked with finding a woman capable of raising the dead. For this holy mission, Stone’s character Emily leaves her husband and young daughter behind, driving a purple sports car with reckless abandon. However, Emily, too, fails in her mission and finds herself begging to be allowed back into the cult. The story underscores a recurring theme: characters believe they seek something profound, but their journeys lead them down dark and twisted paths.

A Meditation on Free Will and Subjugation

“Kinds of Kindness” is not a film that offers easy answers or satisfying resolutions. Instead, it presents a meditation on free will and the myriad ways individuals willingly forfeit their autonomy to others — whether in the workplace, at home, or within religious institutions. The film’s overarching theme is encapsulated by the lyrics of the Eurythmics song “Sweet Dreams (Are Made of This),” which Lanthimos uses to bookend the movie. The lines “Some of them want to use you. Some of them want to get used by you. Some of them want to abuse you. Some of them want to be abused,” aptly summarize the dynamics at play in each segment.

The Perverse Comfort of Subjugation

For all the characters in “Kinds of Kindness,” there is a perverse sense of comfort in being subjugated by someone else. This dynamic is most clearly depicted in the first segment, where Robert finds solace in Raymond’s control over his life. The same pattern is evident in the other segments, where characters like Liz and Emily comply with increasingly bizarre and abusive demands, driven by an inexplicable need to conform and be accepted.

A Visually and Emotionally Stark Landscape

Lanthimos is known for his distinctive visual style, and “Kinds of Kindness” is no exception. The film’s stark, minimalist aesthetic complements its thematic bleakness. The cinematography by Robbie Ryan captures the desolate emotional landscapes of the characters, creating a sense of isolation and disquiet that permeates the entire film. There is little in the way of traditional beauty or joy — elements that are conspicuously absent and, perhaps, intentionally so.

The Joy of Emma Stone’s Performance

While “Kinds of Kindness” is largely devoid of joy, Emma Stone’s performance provides a rare glimpse of it. Her improvised victory dance towards the end of the film is a moment of unadulterated expression that stands out amidst the surrounding bleakness. It’s a testament to Stone’s ability to find and convey joy even in the most challenging of roles. Her partnership with Lanthimos has allowed her to explore and display a fearless side of her talent, one that is increasingly defining her as an actress.

Conclusion: A Film That Defies Easy Interpretation

“Kinds of Kindness” is not a film that can be neatly categorized or easily interpreted. Its three segments offer different perspectives on the central theme of subjugation and the relinquishment of free will, but they do not provide clear answers or resolutions. The film’s opaque narrative and unsettling themes may frustrate some viewers, but they also challenge the audience to think deeply about the dynamics of control and autonomy in their own lives.

Final Thoughts

Ultimately, “Kinds of Kindness” is a film that will likely polarize audiences. Its challenging narrative, stark visual style, and bleak themes are not for everyone. However, for those willing to engage with its complexities, it offers a thought-provoking and unsettling exploration of human nature. Emma Stone’s fearless performance is a highlight, showcasing her ability to bring depth and nuance to even the most perplexing of roles. As the film concludes with the simple yet profound advice to “keep your head up” and “movin’ on,” it leaves viewers with much to ponder about the nature of kindness, control, and the human condition.

“Kinds of Kindness,” a Searchlight Pictures release in theaters Friday, has been rated R by the Motion Picture Association “for strong/disturbing violent content, strong sexual content, full nudity and language.” Running time: 144 minutes. Two and a half stars out of four.