‘KINDS OF KINDNESS’: An Agonising Test of Patience
‘Kinds of Kindness’, directed by Yorgos Lanthimos, is a bewildering departure from the director's previous films, and not in a good way. For those who loved the calculated absurdity of ‘Dogtooth', the biting satire of ‘The Favourite’, or the existential strangeness of ‘The Lobster’, this film feels like a frustrating misfire. The signature Lanthimos oddness that once had a purpose now seems directionless, as if the director is trying to outdo himself in weirdness for weirdness' sake.
Margaret Qualley, Willem Dafoe, Jesse Plemons in ‘Kinds of Kindness’
One of the most glaring issues with ‘Kinds of Kindness’ is that it lacks the undercurrent of logic or thematic depth that made his earlier works so gripping.
In ‘Dogtooth’, the bizarre world of the family had a deeply unsettling and coherent structure that explored control and conditioning. Similarly, ‘The Favourite’ played with period drama conventions, using the grotesque and absurd to comment on power and manipulation. ‘Poor Things’ expertly navigated themes of identity and empowerment through its surreal narrative, where each eccentric moment was grounded in deeper meaning and every bizarre twist served a purpose. Even ‘The Lobster’ grounded its surreal world in poignant observations about relationships and societal expectations.
In contrast, ‘Kinds of Kindness’ feels like a collection of aimless, disjointed scenes in which actors are forced to perform nonsensical actions that seem void of any underlying meaning or commentary.
Emma Stone and Jesse Plemons in 'Kinds of Kindness'
It’s particularly frustrating because Lanthimos has assembled an incredible cast, yet they are given little to work with. The performances are as strong as you’d expect from these actors—especially Jesse Plemons, whose acting range is remarkable, and Emma Stone, who is a marvel to watch as always—but the material feels beneath them. Rather than using their talents to heighten the narrative or explore complex emotions, Lanthimos seems content to have them perform absurd, often uncomfortable acts with no clear justification. What might have been intended as provocative ends up feeling hollow, as if he’s trying too hard to be disruptive without a purpose behind the disruption.
The discomfort the film creates is also problematic. In previous films, Lanthimos’ unsettling moments served to provoke thought or challenge societal norms, but here, it feels gratuitous. Instead of being unsettling in an interesting way, the film is uncomfortable in a tedious and alienating way, with no payoff in sight. Scenes stretch on without reason, and as amazing as the actors are to watch, we also have our limits. There’s a sense that Lanthimos is deliberately withholding meaning or coherence, as if testing our patience rather than rewarding our investment.
Emma Stone and Margaret Qualley in 'Kinds of Kindness'
The only redeeming moment in this otherwise confounding film is the bizarre dance performed by Emma Stone at the very end. Does it make sense in the context of the movie? Of course not. But this dance, which she randomly created between takes on the set of ‘Poor Things,’ is an unexpected highlight—if not the only highlight—and is much more engaging than the entirety of the film. It’s a glimpse of authentic creativity and fun amidst the chaos, adding a quirky charm that contrasts with the film's otherwise empty narrative.
Ultimately, ‘Kinds of Kindness’ feels like Lanthimos at his most self-indulgent, prioritizing strangeness over substance. It is a missed opportunity—a film that seems to revel in its meaninglessness. It comes off as a series of bizarre choices made for their own sake, without any clear reason for existing. Fans of his previous work will likely leave the theater baffled, wondering how such a talented director and cast ended up in a film that feels so empty. At least we can find comfort in the fact that this film provided Jesse Plemons with the opportunity to secure the well-deserved best actor prize at the 2024 Cannes Festival.