The film is a fable in the form of a triptych, which tells three different stories, which have in common the portrait of manipulation and control. The first story, called “The Death of RMF,” is about a man subjected to a more powerful man who meticulously controls his life. The second story, “RMF is Flying,” revolves around a policeman whose wife has disappeared at sea. The last story, titled “RMF Eats a Sandwich,” is about a woman determined to find someone with a special gift, destined to become a prodigious spiritual leader. Something curious about the film is that the three stories are led by the same actors, playing different characters.
It is a dark, disturbing, nihilistic and uncomfortable psychological drama. It abuses extreme cruelty and perversion in its situations, taking them to extreme and absurd surrealism. The stories are hidden under a layer of black comedy, which, due to the murky and insensitive nature of its images, cannot be fully perceived.
Being an anthology film, it is more complex to draw a full conclusion from the project, because in this type of film there will always be stories that are better achieved than others and what counts is the final result of the three. However, all the stories have their own thing and somehow end up captivating. Although the second one is the best achieved and most striking, a simple story with multiple readings and interpretations that tries to return to the roots of Greek tragedy.
In the same vein as filmmakers such as Lars Von Trier and Michael Haneke, Lanthimos makes misanthropic films in which he reveals the falseness of society, brutally dissecting an abusive and cynical world. The Greek director in a way enjoys making the viewer suffer without any kind of complacency towards his characters. He is not interested in pleasing or being condescending to the audience.
Lanthimos is once again working with the co-writer of his first films, Efthymis Filippou. They worked together on Dogtooth, Alps, The Lobster and The Killing of a Sacred Deer. His more pop-oriented films, such as The Favourite and Poor Things, are written by another screenwriter, Tony McNamara. That is one of the reasons why Gentlemen feels closer to the Yorgos of Dogtooth than to the one in his two previous films. At the same time, it feels less worked on aesthetically and in its photography, although it is not bad either. In short, it is a Greek film with American actors and production. Few directors can enjoy that honour in Hollywood, of doing what they want.
It is a difficult film to define. It seems like a blender of strange and brilliant ideas. It is confusing, abstract, has an unconventional narrative, is allegorical and is loaded with symbolism. Because of this and its long duration (2:44), some people may find it a bit heavy, although for those who connect with the stories the time will fly by.
Hong Chau and Jesse Plemons in KINDS OF KINDNESS. Photo by Atsushi Nishijima. Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.
However, there should be no discussion about the quality of the performances. The actors give it their all, they are truly amazing. Emma Stone, Hong Chau, Williem Dafoe, Margaret Qualley and above all Jesse Plemons, who won the award for best actor at the Cannes Film Festival for this film. It is impressive how each of the actors fully immerses themselves in their different characters. The situations are so irrational that they take them to the limits of their abilities.
Lanthimos’ films generally get a positive critical consensus, but “Kindness” managed to divide quite a bit. It’s not for everyone, there are scenes of brutal violence that some will find hard to bear. Although his characteristic obsessions with sex, violence and perversity are repeated, this time he doesn’t achieve the levels of existential exploration of his other films, which is perhaps the lowest point in his career. But it’s still worth seeing, because it’s a unique experience. At least the director’s fans will be happy.
Watch the video with the commentary below: