User Reviews

With these three absurd and grim stories, Lanthimos seems to be writing a love letter to Bunuel. Desperation, insanity, loneliness, cults, cannibalism, unquestionable faith and manipulation, are all there. I was sunk in, from the first close up of Plemons's mustached face, and Stone's celebratory dance in the parking lot 2 hours and 45 minutes later caught me by surprise, despite knowing it was coming. The cast really sinks into the robotic, yet powerful performances. Their delivery of the lines cautiously keeps you at bay, so that you can't really empathize with any of the characters, although you are desperately trying to. The dry humor pops up in unexpected moments and it almost feels unintentional.

The dominant emotion you feel during the movie is guilt, for having such a great time watching all this cruelty unfold on screen. The setting of a faceless, damp, summer New Orleans, binds perfectly with Robbie Ryan's beautiful cinematography. Extreme and long close ups, along with various wide lenses are back. Fendix's stoic score, which seems to consist mainly of piano and unsettling chanting, felt appropriate.

Is there any depth to all of this? Maybe not, but you have no other choice than to discuss about it with a friend, which is probably more than enough to make the director happy.

This macabre anthology film solidifies the fact, that no one makes movies like Lanthimos today. This isn't a movie for wider audiences, but his fans will definitely enjoy it, maybe a bit too much, like me.

"Kinds of Kindness" is an ambitious but ultimately disjointed film that attempts to capture the peculiar essence of a Yorgos Lanthimos-inspired world, populated by unempathetic characters whose bizarre actions lack any justification beyond directorial whim. The film oscillates between moments of potential intrigue and abrupt, unsettling turns that detract from any developing narrative.

One particularly jarring example is the segment "R. M. F. Is Flying." Here, we follow Daniel as he investigates the suspicious behavior of his newly rescued wife. Just when the story seems to gain momentum, it takes a grotesque turn: Daniel transforms into a psychopath, demanding that his wife feed him her thumb and liver, which she inexplicably complies with. This sudden descent into absurdity typifies the film's struggle to maintain coherent and compelling storytelling.

The characters in "Kinds of Kindness" fail to elicit any emotional investment. Unlike anti-heroes who, despite their flaws, possess qualities such as honor, courage, or a personal code that evoke empathy, the characters here are uniformly despicable without any redeeming traits. This lack of relatable or admirable qualities makes it difficult for the audience to connect with or care about their fates.

What is the message?

The messages that can be derived from this film are numerous, especially from the community that will inevitably enjoy this picture. One particularly troubling message emerges in a scene where Aka tells Emaly, who has been expelled from "the creepy orgy clan" after being raped by her husband, that "not everyone is suited for everything, some were made to lead a life with a husband and have children." This implies that traditional roles and desires are inferior to the clan's perverse lifestyle. Such a message is not only disturbing but also suggests a disdain for conventional values, which could be interpreted as the film's misguided attempt at provocation.

In conclusion, "Kinds of Kindness" is a nearly three-hour ordeal that fails to develop a coherent plot or deliver a meaningful message. Its characters are unappealing, the narrative is constantly derailed by gratuitous shock value, and any potential themes are lost in the chaos. The film might find an audience among those who appreciate avant-garde cinema that thrives on discomfort and confusion, but for most viewers, it will be a perplexing and unsatisfying experience.