"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.
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.
