Kinds of Kindness 2024

Kinds-of-Kindness-2024
Kinds of Kindness 2024

I would like to watch the movie Yorgos Lanthimos like the many admirers he has around the globe, but still no one informs me of this, I have most of the time very vaguely of what it is that he is trying to accomplish. It more than once happens that I got a few of his fans’ assisted dementia, in fact, many of them assisted him to do less praiseworthy self-indulgence in the more basic self-indulgence which always goes beyond point one poster. Obviously, he is good with audience manipulation from behind the camera, however, his aim today seems to be viewing himself as a reason to integrate a seamless story to be the other cream of the crop. 

These are follows now still existent remnants of logical coherence in a half-blind mans visual galaxy that has to be guiding Lanthimos’ other film Kinds of Kindness. But I would put the people who are too supportive of Lanthimos credit for some restraint as the result is much more than an act of fantasy than the story from the previous year. It does however get more dismal as well. But then again, most if not all of Lanthimos’s oeuvre fits pretty well into the ‘crazy, greek weird wave cinema even greater’ box.

Lanthimos Films appears unorthodox to pull everything backward, but its Kinds of Kindness resembles, but there is a lot of the film directors ‘off-beat’ or unconventional, so there is more than enough brute density to appear less unbearable rather.

The movie is tagged as barbaric, but even now it is hard to imagine that the movie is more villainous and sorrowful than that. The title alone does fit the content “Feels Kind of Kind” but this film is a comedy solely for the sake of being one. This film is made up of three different stories that make one perfect combination. An annus horribilis for the actors is followed by different locations where the same content is filmed, the location is the only difference. There is no plot to the dark comedy nor is there any character development and one can even say that the character is a talking mannequin. When watching the film for the first time, one may find it reprehensible as the narration depicts humankind in a beastly fashion. 

But hailing from the other side “The Death of R.M.F” is directed while featuring Robert Fletcher who is portrayed by Jesse Plemons. Robert is a simple guy who suffers from low self esteem and is socially awkward at times, mind you these traits combined make him a whole new level of submissive, and is controlled by a boss named Raymond who is acted by Willem Dafoe. Robert has been wearing attire, ingesting food, and even engaging in activities with his wife, SARAH, who is played by Hong Chau, all in the name of walking the dog. But let’s be blunt, when the phrase ‘running over R.M.F’ is used, everything is bound to change.

Now I want all of you to catch the next story “R.M.F. Goes Flying” in my opinion it is quite interesting. In this case, Plemons portrays Daniel a cop in search of his missing wife Liz (Emma Stone) who went out to the sea after she had been gone for quite a while with no sign of returning. To him it is truly astonishing as he speaks that Liz has indeed returned to him in perfect health and safety whilst having been preserved against all odds. The time has come in which Daniel may finally be able to obtain his wife, only for the loving husband to be confused because not all is in order. There are some freaky things that make him start to rethink whether this Liz is the Liz that will always find a way to reside in his heart. His best friend Neil (Mamoudou Athie) also tries to explain these matters to him patiently insisting that this is just his imagination. Baffling, revolting, and for the most part completely irrelevant is what comes next.

Finally, it’s decency and logic that bends to “R.M.F. Eats a Sandwich”. In this picture, both Emily (Stone) and Andrew (Plemons) belong to a very strange sex cult that is beach-oriented, which is the invention of Omi (Dafoe) and his wife Aka (Chau). They have relocated in search of this specific woman who is said to have the ability to resurrect. Why? There is a messianic prophecy aspect to the story, but, if we are honest, the specifics are not overly relevant. Emily is quite secretive and she goes out in the night to leave gifts for her child from whom she fled and who became a furious woman. Because they would like not to exhibit rage – this results in the circumstance when there is one genuine act of affection in the entire world of the movie. But for a brief moment, and pretty soon Lanthimos is back on the loving end with the sadistic narration that everyone expects, delivered towards the characters and the audience too.

Each story contains some kind of unresolved throughput, although this throughput is too weak since there is little to no authentic action that occurs throughout the film. Out of all of these, the single most striking detail is that all the actors that you see on the stage are unlikely to belong to the homo sapiens species. They lack any deep or even shallow character and personality and are simply there to be ground up in the Lanthimos meat grinder. Even the most hard-boiled and strong-acting cast in any way will be able to withstand Lanthimos’ sadistic tendencies. Some rather interesting concepts are indeed floated. But there is a caveat, however. These concepts sail away along with plots in which the interest is gradually diminishing and what could be a straightforward film becomes a tormenting one instead.

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