The thesis behind Lanthimos’ entire filmography is that humans are perverts, and this film is that to the nth degree. Three deeply disturbing and darkly comedic (hate to be the only one in the theater who was laughing) stories that are really just blown up versions of our everyday feelings.

This reminded me of his Greek films more than anything he’s made recently. It’s so cool that the Dogtooth guy is one of the most prominent voices in cinema right now.

The thesis behind Lanthimos’ entire filmography is that humans are perverts, and this film is that to the nth degree. Three deeply disturbing and darkly comedic (hate to be the only one in the theater who was laughing) stories that are really just blown up versions of our everyday feelings.

This reminded me of his Greek films more than anything he’s made recently. It’s so cool that the Dogtooth guy is one of the most prominent voices in cinema right now.

Yorgos Lanthimos’ rise into mainstream cinema is almost beyond belief. He produces surreal dystopian Sci-Fi films and dramas that are challenging, absurdist, and categorised by disarmingly unemotive dialogue and delivery. Films like Dogtooth (2009) and The Lobster (2015) have a cult following for their strangeness and originality, but it is his recent partnership with Emma Stone in the Favourite (2018) and Poor Things (2023) that has launched him into the spotlight. Kinds of Kindness (2024) is another creative leap for Lanthimos. It is a three hour anthology film, using the same cast to tell three unrelated ‘short’ stories. 

The first story is about an employee Robert (Jessie Plemons) who dedicates his life to following instructions from his powerful manager Raymond (Willem Defoe). Robert’s whole life is meticulously controlled and in essence he has no free will. The story seems to be a commentary on how societal structures such as a 9-5 hinder creativity, and your ability to make decisions for yourself. For example, after Raymond leaves, Robert can’t even decide what drink he wants at a bar. Even his partner (originally chosen by Raymond) is forgotten in his panic to rediscover the structure and life meaning that was lost by Raymond’s departure. Everything is exaggerated in an absurd dystopian style that only Lanthimos can do, but it works perfectly. The themes are supported by sharp overly precise cinematography, harsh lighting, and saturated colours, which feel artificial and trapping. 

The second story is about a woman who returns to her husband after being reported missing. Despite everyone’s joy Daniel (Jessie Plemons) suspects something is different about Liz (Emma Stone). The film plays out like a dark twisted fairytale, with Daniel giving more and more extreme demands to tests Liz’s authenticity. The narrative is simple, play- like, and allows Plemons and Stone to showcase their full acting range. Emma Stone in particular is fantastic, showing genuine love and care for her partner in a way that is authentic but at times overdone, leaving room for audience ambiguity right to the end. It’s a cautionary tale about control and power dynamics in relationships, and the need to compromise and sacrifice yourself to provide unconditional love. The absurdism and comedy remain, but it is definitely the most graphic and shocking of the three films. 

In the third film, Lanthimos delivers something completely different again, offering a social commentary on cults, sex, and mortality. It is far more chaotic, experimental and faster paced, with abrupt editing, soundtrack changes, and a multitude of graphic scenes. There are also fourth-wall breaks which alter the flow, and feel more style over substance. Ultimately, the experiment doesn’t work, and it is far less cohesive and compelling than the other two stories. This is not helped by the run time at this stage, having already sat through two hours with the same actors.  

Overall, Kinds of Kindness acts as a worthy addition to Lanthimos’ filmography. The stories are devilishly dark and creative, and always have something to say. A single idea on how each story should be interpreted is reductive, as Lanthimos’ films are full of ambiguity and mystery. However, the overly long run time and slight over-reliance on shock factor call its rewatch value into question. 4/5

Yorgos Lanthimos’ rise into mainstream cinema is almost beyond belief. He produces surreal dystopian Sci-Fi films and dramas that are challenging, absurdist, and categorised by disarmingly unemotive dialogue and delivery. Films like Dogtooth (2009) and The Lobster (2015) have a cult following for their strangeness and originality, but it is his recent partnership with Emma Stone in the Favourite (2018) and Poor Things (2023) that has launched him into the spotlight. Kinds of Kindness (2024) is another creative leap for Lanthimos. It is a three hour anthology film, using the same cast to tell three unrelated ‘short’ stories. 

The first story is about an employee Robert (Jessie Plemons) who dedicates his life to following instructions from his powerful manager Raymond (Willem Defoe). Robert’s whole life is meticulously controlled and in essence he has no free will. The story seems to be a commentary on how societal structures such as a 9-5 hinder creativity, and your ability to make decisions for yourself. For example, after Raymond leaves, Robert can’t even decide what drink he wants at a bar. Even his partner (originally chosen by Raymond) is forgotten in his panic to rediscover the structure and life meaning that was lost by Raymond’s departure. Everything is exaggerated in an absurd dystopian style that only Lanthimos can do, but it works perfectly. The themes are supported by sharp overly precise cinematography, harsh lighting, and saturated colours, which feel artificial and trapping. 

The second story is about a woman who returns to her husband after being reported missing. Despite everyone’s joy Daniel (Jessie Plemons) suspects something is different about Liz (Emma Stone). The film plays out like a dark twisted fairytale, with Daniel giving more and more extreme demands to tests Liz’s authenticity. The narrative is simple, play- like, and allows Plemons and Stone to showcase their full acting range. Emma Stone in particular is fantastic, showing genuine love and care for her partner in a way that is authentic but at times overdone, leaving room for audience ambiguity right to the end. It’s a cautionary tale about control and power dynamics in relationships, and the need to compromise and sacrifice yourself to provide unconditional love. The absurdism and comedy remain, but it is definitely the most graphic and shocking of the three films. 

In the third film, Lanthimos delivers something completely different again, offering a social commentary on cults, sex, and mortality. It is far more chaotic, experimental and faster paced, with abrupt editing, soundtrack changes, and a multitude of graphic scenes. There are also fourth-wall breaks which alter the flow, and feel more style over substance. Ultimately, the experiment doesn’t work, and it is far less cohesive and compelling than the other two stories. This is not helped by the run time at this stage, having already sat through two hours with the same actors.  

Overall, Kinds of Kindness acts as a worthy addition to Lanthimos’ filmography. The stories are devilishly dark and creative, and always have something to say. A single idea on how each story should be interpreted is reductive, as Lanthimos’ films are full of ambiguity and mystery. However, the overly long run time and slight over-reliance on shock factor call its rewatch value into question. 4/5

I really wish I knew this was an anthology going into it. I was kind of let down initially. It’s your usual Yorgos absurdity with some great acting from some of the best. The last story was a banger though, visually stunning.

I really wish I knew this was an anthology going into it. I was kind of let down initially. It’s your usual Yorgos absurdity with some great acting from some of the best. The last story was a banger though, visually stunning.

Yo, genuinely… what the fuck did I just witness? It was so strange, all over the place, and I fucking loved it.

Kinds of Kindness is a three-part anthology film written and directed by everyone’s favorite Greek weird-absurd filmmaker, Yorgos Lanthimos. Fun fact about me: I don’t like Yorgos Lanthimos. I’m not a Yorgos head. I usually find his films mediocre and too all over the place: cold, lifeless, weird, robotic, and bleak in their dialogue and delivery. But in this film, it kind of makes sense, because all the characters in these stories are basically controlled by something or someone.

Before watching this, I was very skeptical. I mean, an almost three-hour anthology film by a filmmaker whose style I’ve never been able to endure? I didn’t like Poor Things, I hated The Lobster, and I found The Favourite very fucking dumb. But something I never thought would happen actually did: I loved, and I mean loved one of his films. Because Kinds of Kindness is a certified banger.

Since this film is told in three short stories, we’ll review them one by one. So… let’s begin.

CHAPTER ONE: THE DEATH OF R.M.F. (6.5/10)

Part one focuses on Robert, a subservient employee who tries to reclaim control of his life after receiving a command from his boss. To be fair, I didn’t like this at first. This was the Yorgos I knew and hated. That said, I thought the acting was kind of cool in its robotic sense. It actually worked with the whole culty, life-control vibe.

The story itself wasn’t very interesting to me. I felt like it dragged on the whole “oh no, this poor dude” thing, instead of answering my questions. I was sitting there like, what the fuck is happening? And sometimes I like that. Sometimes I enjoy movies that keep me confused, and the other two parts did that well. This one just didn’t. And since this is the first story in the film, I guess we had to start with the weakest one.

CHAPTER TWO: R.M.F. IS FLYING (10/10)

Part two follows a policeman, Daniel, who becomes alarmed when his wife returns as a changed person after a near-death experience. He tries to investigate in the most fucked-up way imaginable. By forcing her to cut off parts of her body and cook them for him.

And to be fair, this was my shit. This is probably my favorite thing Lanthimos has ever made. The story is insane, gripping, and had me hooked the entire time. The performances are some of the best in any Yorgos film. Emma Stone delivers an incredible, and I mean incredible performance. Jesse Plemons is always unsettling, even when he’s just playing a normal dude. I swear that man gives me the creeps no matter what.

When the film actually gets into the slicing and cooking, it’s disturbing, confusing, and wonderful all at the same time. The jump from fingers to stomach was, ironically enough...stomach-turning. I found the ending intoxicating and, yes, confusing, but it was a good confusion. This shit went so fucking hard.

It’s deeply uncomfortable, distrustful, slow, punchy, disturbing, weird. Just all the things. OH! It’s so fucking good!!! Truly magnificent. His best work, even if it’s only around 40 minutes.

CHAPTER THREE: R.M.F. EATS A SANDWICH (8/10)

Part three centers on a woman searching for a special individual who can bring dead people back to a living state, prophesied to become a spiritual leader, with cult members Emily and Andrew involved. And again, this went hard.

I found all the cult scenes super disturbing and really interesting to watch. Also, just Willem Dafoe in that red robe… no. Just no. I was laughing like hell when I saw that. Emma Stone is great again, but for me, Margaret Qualley and Hong Chau absolutely killed it. I loved the plot involving the Margaret Qualley twins. The black-and-white sequence was ridiculous in the best way.

The moment when Qualley jumps into the empty pool while Stone runs after her left me completely shocked. It genuinely gave me so much anxiety, and I was impressed that Yorgos managed to give me emotional reactions twice in the same Lanthimos film.

And Emma Stone absolutely rocking that dance scene at the end, like, move those limbs, girl. Goddamn. This also has the funniest ending in the movie. After devoting your entire life to finding this person and finally proving her worth… you just kill her in a car accident. Then...boom! Cut to black. End credits. It’s so abrupt and darkly funny.

But the poor fucking dog. That poor pooch.

Still, that dance alone bumped this from an 8.5 to a 9. Perfect needle drop too. That song is a bop. I also just find it hilarious that she’s busting a move, probably to no music, while the woman she just drugged and brought a guy back to life is just chilling in a wheelchair outside. It’s stupid, but it’s so good.

**THE CONCLUSION:
**
If you can’t tell, Kinds of Kindness is a weird flick. This movie is insane. You’ve got group sex being filmed, ridiculous-looking cars drifting at insane speeds in motel parking lots, cults, sweat, puke, blood, and chopped-off limbs. There’s truly something for everyone.

Genuinely, though, I had a great time with this film. I really didn’t like part one, absolutely loved part two (and think it’s his best work), and found part three to be complicated but a really fun joyride. Because I loved the last two parts so much, it actually makes me want to get into more Lanthimos. Maybe I’ve just been picking the wrong films, because this is the good shit.

Also, an anthology series by Lanthimos, something like Love, Death & Robots, with 30–40 minute episodes. Would go insanely hard. Maybe he just shines more in this kind of storytelling instead of full narratives. But that’s just me.

Still… good picture. Good picture.

Yo, genuinely… what the fuck did I just witness? It was so strange, all over the place, and I fucking loved it.

Kinds of Kindness is a three-part anthology film written and directed by everyone’s favorite Greek weird-absurd filmmaker, Yorgos Lanthimos. Fun fact about me: I don’t like Yorgos Lanthimos. I’m not a Yorgos head. I usually find his films mediocre and too all over the place: cold, lifeless, weird, robotic, and bleak in their dialogue and delivery. But in this film, it kind of makes sense, because all the characters in these stories are basically controlled by something or someone.

Before watching this, I was very skeptical. I mean, an almost three-hour anthology film by a filmmaker whose style I’ve never been able to endure? I didn’t like Poor Things, I hated The Lobster, and I found The Favourite very fucking dumb. But something I never thought would happen actually did: I loved, and I mean loved one of his films. Because Kinds of Kindness is a certified banger.

Since this film is told in three short stories, we’ll review them one by one. So… let’s begin.

CHAPTER ONE: THE DEATH OF R.M.F. (6.5/10)

Part one focuses on Robert, a subservient employee who tries to reclaim control of his life after receiving a command from his boss. To be fair, I didn’t like this at first. This was the Yorgos I knew and hated. That said, I thought the acting was kind of cool in its robotic sense. It actually worked with the whole culty, life-control vibe.

The story itself wasn’t very interesting to me. I felt like it dragged on the whole “oh no, this poor dude” thing, instead of answering my questions. I was sitting there like, what the fuck is happening? And sometimes I like that. Sometimes I enjoy movies that keep me confused, and the other two parts did that well. This one just didn’t. And since this is the first story in the film, I guess we had to start with the weakest one.

CHAPTER TWO: R.M.F. IS FLYING (10/10)

Part two follows a policeman, Daniel, who becomes alarmed when his wife returns as a changed person after a near-death experience. He tries to investigate in the most fucked-up way imaginable. By forcing her to cut off parts of her body and cook them for him.

And to be fair, this was my shit. This is probably my favorite thing Lanthimos has ever made. The story is insane, gripping, and had me hooked the entire time. The performances are some of the best in any Yorgos film. Emma Stone delivers an incredible, and I mean incredible performance. Jesse Plemons is always unsettling, even when he’s just playing a normal dude. I swear that man gives me the creeps no matter what.

When the film actually gets into the slicing and cooking, it’s disturbing, confusing, and wonderful all at the same time. The jump from fingers to stomach was, ironically enough...stomach-turning. I found the ending intoxicating and, yes, confusing, but it was a good confusion. This shit went so fucking hard.

It’s deeply uncomfortable, distrustful, slow, punchy, disturbing, weird. Just all the things. OH! It’s so fucking good!!! Truly magnificent. His best work, even if it’s only around 40 minutes.

CHAPTER THREE: R.M.F. EATS A SANDWICH (8/10)

Part three centers on a woman searching for a special individual who can bring dead people back to a living state, prophesied to become a spiritual leader, with cult members Emily and Andrew involved. And again, this went hard.

I found all the cult scenes super disturbing and really interesting to watch. Also, just Willem Dafoe in that red robe… no. Just no. I was laughing like hell when I saw that. Emma Stone is great again, but for me, Margaret Qualley and Hong Chau absolutely killed it. I loved the plot involving the Margaret Qualley twins. The black-and-white sequence was ridiculous in the best way.

The moment when Qualley jumps into the empty pool while Stone runs after her left me completely shocked. It genuinely gave me so much anxiety, and I was impressed that Yorgos managed to give me emotional reactions twice in the same Lanthimos film.

And Emma Stone absolutely rocking that dance scene at the end, like, move those limbs, girl. Goddamn. This also has the funniest ending in the movie. After devoting your entire life to finding this person and finally proving her worth… you just kill her in a car accident. Then...boom! Cut to black. End credits. It’s so abrupt and darkly funny.

But the poor fucking dog. That poor pooch.

Still, that dance alone bumped this from an 8.5 to a 9. Perfect needle drop too. That song is a bop. I also just find it hilarious that she’s busting a move, probably to no music, while the woman she just drugged and brought a guy back to life is just chilling in a wheelchair outside. It’s stupid, but it’s so good.

**THE CONCLUSION:
**
If you can’t tell, Kinds of Kindness is a weird flick. This movie is insane. You’ve got group sex being filmed, ridiculous-looking cars drifting at insane speeds in motel parking lots, cults, sweat, puke, blood, and chopped-off limbs. There’s truly something for everyone.

Genuinely, though, I had a great time with this film. I really didn’t like part one, absolutely loved part two (and think it’s his best work), and found part three to be complicated but a really fun joyride. Because I loved the last two parts so much, it actually makes me want to get into more Lanthimos. Maybe I’ve just been picking the wrong films, because this is the good shit.

Also, an anthology series by Lanthimos, something like Love, Death & Robots, with 30–40 minute episodes. Would go insanely hard. Maybe he just shines more in this kind of storytelling instead of full narratives. But that’s just me.

Still… good picture. Good picture.

what is this even about? and was that rape scene in the third story really necessary… so fucking weird

what is this even about? and was that rape scene in the third story really necessary… so fucking weird