Poor Things
Poor Things was my most anticipated movie of the year, perhaps even of all time. Primarily because of my newfound and growing love of its director Yorgos Lanthimos who has produced some of my favorite movies of the 2010’s from Killing of a Sacred Deer to The Favourite. His unique and quirky style and types of stories he tells struck me from the start of my journey through his filmography, and Poor Things is no different.
The first thing that really caught my attention in both the film and the trailer, was the color. This was visually going to be like nothing Lanthimos had done before, set in a vibrant, whimsical landscape. And I certainly found this to be true through so many sprawling shots that featured primarily the sky, but also unique set pieces such as Lisbon and the ship. What I didn’t anticipate was how the color and whimsy of the world would change along with Bella throughout her adventure. We very clearly see the world through her eyes. From the bleak but still striking opening shot, to the black and white staleness of her world trapped in God’s house, to her colorful discovery of all the world’s pleasures, and finally her more muted maturation and understanding of the harsh realities that surround us all.
What I love though, is that even as Bella matures, the whimsy of the world is not lost. The reason Poor Things is so much fun stems from the alternate universe it’s set in. The wacky animals, God’s bubbles, and his surreal stories all build an incredibly fun world. This is also thanks to the childlike wonder Bella affords the film as again, we see the world through her eyes, effectively the eyes of a child.
On a technical level, Lanthimos and his cast and crew are at their best. Lanthimos’ camera work has evolved gracefully, and his use of so many different types of lenses and shots really adds to the way the Poor Things’ world is presented. The score, per usual, is perfect. Eclectic, haunting at times, and beautiful when it needs to be, perfectly matches the tone at every second. And it’s funny! The message and story unfolding is not lost in the comedy, but the comedy and its timing are truly great. Of course, none of this is possible without all time performances from the leads. Really everyone gives it their all, but Emma Stone and Mark Ruffalo go all out the entire film, not once slowing down. In a perfect world, Stone blows her Oscar competition out of the water.
As for the actual message of the film, Poor Things is the most relevant movie of 2023. Bodily autonomy and women’s rights as a whole are at a concerning low, which Poor Things never lets the viewer forget. Bella Baxter is an individual to which the rules of the world, including patriarchy, do not apply. This is made abundantly clear by every single man Bella encounters being unreasonably frustrated with her, as she doesn’t play by their rules. From her sexual choices and encounters, to her unfiltered brain and mouth, Bella chooses freely what she does. Every one of these men from Godwin to Alfie attempt to control Bella, her body, and what she does with it, which she makes clear is not how she wants to or will live.
Poor Things is the best movie of the year not only because of its technical brilliance and engaging plot, but because of its extreme and immediate importance.