A "bizarre dance sequence" could be a square in a game of Yorgos Lanthimos-themed Bingo. When I watched "Poor Things" (screenplay by Tony McNamara) at the New York Film Festival, the film's contender for Greatest Guffaws occurred when the free-spirited Bella Beatrix (Emma Stone), a Frankensteinesque reanimated woman, bounces onto the ballroom floor with abandon. Her rakish paramour Duncan Wedderburn (a hilarious Mark Ruffalo) joins in and marvels at her untamable spirit, though she would end up burning out his patience later. Living in a steampunk Victorian setting of futurism and antiquity, Bella's dance is her proverbial middle finger to restrictive "polite society."
Weird dancing — or odd choreography — is a vital ingredient to Lanthimos' directorial idiosyncrasies, given that dance is an extension of power, control, or conformity. His early 2005 "Kinetta" engages in a litany of sloppy homicide reenactments, and several of his films followed up with his signature "weird dances.
Weird dancing — or odd choreography — is a vital ingredient to Lanthimos' directorial idiosyncrasies, given that dance is an extension of power, control, or conformity. His early 2005 "Kinetta" engages in a litany of sloppy homicide reenactments, and several of his films followed up with his signature "weird dances.
- 12/8/2023
- by Caroline Cao
- Slash Film
We’ll go out on a limb and say no scene in this year’s crop of awards films was more Wtf? than the absurd and delightful royal dance moment in “The Favourite.”
Debuting early on in Yorgos Lanthimos’ female love-triangle drama, the dance serves as wonderful reminder that, even when dressed like Merchant Ivory and full of Shakespearean power grabs, this is still Lanthimos’ world — thanks to disorienting modern choreography and outright silliness.
Stars Rachel Weisz and Joe Alwyn square off in the scene, set at a palace rager thrown by Olivia Colman’s Queen Anne. The scene has two purposes: establish how autonomously Weisz’s Lady Sarah operates as the Queen’s closest adviser and secret lover, and how temperamental the wheelchair-bound queen can be when she’s reminded of all the fun she can’t have.
“I must dance,” Weisz tells Colman when an unremarkable instrumental piece begins to play.
Debuting early on in Yorgos Lanthimos’ female love-triangle drama, the dance serves as wonderful reminder that, even when dressed like Merchant Ivory and full of Shakespearean power grabs, this is still Lanthimos’ world — thanks to disorienting modern choreography and outright silliness.
Stars Rachel Weisz and Joe Alwyn square off in the scene, set at a palace rager thrown by Olivia Colman’s Queen Anne. The scene has two purposes: establish how autonomously Weisz’s Lady Sarah operates as the Queen’s closest adviser and secret lover, and how temperamental the wheelchair-bound queen can be when she’s reminded of all the fun she can’t have.
“I must dance,” Weisz tells Colman when an unremarkable instrumental piece begins to play.
- 12/11/2018
- by Matt Donnelly
- Variety Film + TV
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