Last Updated on June 23, 2024 by
kinds of kindness 2024 movie is Directed by Yorgos Lanthimos. The film stars Emma Stone, Jesse Plemons, and Willem Dafoe with the rum time of 1h 37m theater released June 21, 2024.
kinds of Kindness movies are Divided into three different tales that share the same actors but in different roles, in a world that is unfeasible and abstract USA of the present. This fits into Yorgos’s strength of having a limited space where characters have a license to do as they please while the audience tries to make sense of the scenes piecemeal.
The first of three stories features Robert portrayed by Jesse Plemons, a man who lives his life while facing abuses from a power-drunk boss who determines even his shirt color and what number of children he needs to sire. Robert acts like this takes advantage of every crazy idea as instructed by Raymond knowing fully well what next until he is asked at one point to drive his car at high speed to crash into another car and end up in the hospital.
The second is a story that also involves Jesse Plemons on a similar note as the first where he is being made to think that he is going insane; the next story depicts policeman Plemons whose wife disappears during a diving trip. She is and at that point, Plemons is sure that the woman in front of him is not his wife. Substituting the motifs of a quite literal divine order of a god who rules over people, the third story presents a cult obsessed with water and wearing pantsuit sandals with Plemons and Emma Stone searching for the woman who can make the dead rise.
All the scripts deal with similar ideas, but the overall atmosphere of the film changes completely for each of the stories, meaning that one review, analyzing the different aspects of each story, feels like a daunting task. The two cartoons differ in characters and settings; once the audience solves the role and believes they pieced the story together, the show leaps directly into another insane situation. Lanthimos puts the viewers into a state of confusion and euphoria and they need to decide whether to navigate the wastewater of the latter or let themselves drown in it. Fortunately for Lanthimos, and his co-writer, as well as the crew it employs aspects like music and camera framing to make audiences feel like they are on edge for the potential of what else can turn out as they eagerly focus on each word. At some point, it seems like strings are thrown out to shoot down the obvious narrative one is building in their head as they consume the sequences; the gimmick of fact-telling versus fiction-telling. Every story is governed by certain rules imposed by scripts of the film’s writer-director Lanthimos and it becomes the viewer’s challenge to decipher these rules from character actions.
Building on his favorite motif of control, Lanthimos sets up each domain that considers control corresponding to the corporations, marriage, and religions for the three parallel universes of interest. All these are based in very enclosed spaces and conduct where characters understand what is required of them by the superior forces. All voluntarily ‘surrender’ their agency to conform to the instructions of the overbearing authority figure in front of them in order to become empowered for submitting to the role of a follower. In this context, while people want control, there is a difference like winning the approval of someone you admire at the end of the day, a feeling that cannot be compared with anything else.
This can lead one down a very harmful path as it is typical for Yorgos’s stories and various other tales out there. It mainly describes a tragic love that is not real and is created to witness loyalty in simple desperation to regain the acceptance they lack. When one does not have the confidence in oneself to live …causing an internal gaslighting of their actual self and self- free of control. It is imperative to note they are not drawing these characters as simply good or bad or telling you to judge them that way. In the shade of grey of morality, they have to come out and skin their opponents for whatever resources are available so that they can regain their place in society and get their status. Since this world is not real, the potential for acts of cruelty does not have the same importance as when you watch your neighbor perform them. Because all of it films a centimeter off, there is no way one can ascertain these are purposeful actions; it is merely observing a person doing what he or she perceives as best under the circumstances for a particular benefit he or she anticipates. They will do anything to themselves just to achieve this approval. Bash somebody with their vehicle, abandon their spouse and toddler, or cut out their husband’s liver for him to consume? Lanthimos surely overstates stuff in this portrayal of the measures one takes for another, but even the strangest of paths are the standard in his fun-fair.
Robert understands Raymond’s strategy; each day comes with a card that stipulates what Raymond should take and what book to read. Complete control over all aspects of his life is exercised by this dominating man and his life prior to Raymond is not acknowledged, but life as given to him by Raymond. Whenever he wanders, he gets out of this pattern and as a result is forced to be on his own for the first time in his life. This free man has no idea of how people manage to live, let alone work without his slave, Raymond. All of a sudden he is ejected from everything; there is no one to clean his house, his wife abandons him and now all that remains for Raymond is to sit and suffer, a total obliteration of all the things he ever achieved. He once felt like the most important man in the world, but that was years ago and this attitude changed after ignoring how special he felt and now has a new apprentice, Rita, to Raymond who makes sure to follow all instructions very closely. Robert is one of the characters of the Kinds of Kindness theatrical group to brings himself to an extreme level of desperation to get the recognition of a superior figure.
Whereas All The King’s Men and Rhapsody had a fairy tale semi-periodical visual identity Kinds of Kindness is contemporary but it is not an object of having the ability to turn into any period. Getting on the wrong side of the authority figure and then crimsoning their way back into favor is a story that has been told for centuries, if not in the Bible’s story of Adam and Eve in the Garden of Eden. Kinds of Kindness could well be a director’s paradise – an Eden abounding with FILTH and protectiveness where one has to wander to remain on the right side of the hedgerow before being ushered out to a state of self-obsession.
With that being said, the true actors in the story outside of the main leads and their dedication to an interaction that seems like an inside-out improv skit that was given to them by Yorgos are the soundtrack by Jerskin Fendrix and the editing by Yorgos Mavropsaridis. Reminiscent of the inner dialogue of a person making some disastrous decisions that can negatively impact the person and others, the deep ‘nos’ in the score interluded by the word itself augments the dangers inherent in the mundanity of life. The score is never dropped chasing claustrophobia on these characters, who are only real on screen and can’t even escape the lens or their own skin.
This nonsensical approach towards society never misses a beat or punch which is quite a rarity in films and I commend it for holding the interest of the audience for nearly three hours. The jumping storylines do contribute into generating the audience that is used to swiping between the content and Yorgos definitely understands where to begin and where to end to entice everybody into confusion and then immediately subdue them into the next one. Eking comes a game in the realm of marginal movie theaters, putting into the fore what an audience can endure in the hand of the filmmaker of Dogtooth. Placing a steady rhythm makes room for fancy towards the story may turn whichever way and keeps this notion of just not being expected to understand what is going on around you. As the characters you are stranded in this unfamiliar territory which is similar to the real world however distorted. The transition between stories lets you or does not let you dwell on what you witnessed; the lightning speed immediately takes you into the next episode as if you were watching a sketch of either SNL or Portlandia that drags you out of one reality and makes you assemble a completely different set of rules in a new domain of life.
Kinds of Kindness is not something that one can acquire, or have. You observe and then get carried away by it. It is the kind of movie that receives the label of creating a spark which gives a basis for people to debate and discuss depending on what was received by the viewer. Yes, there are lots of similarities; the themes of pregnancy, eggs, twins, chocolates, and dreams of the female characters are discussed in the stories. It can discuss Yorgos’s incorporation of dialogue in his projects, which is always mechanical rather than realistic. To achieve good performances in his films, he has to ground the characters and put it on them to be decent in some way, all the while setting up and complicating funny scenarios to balance realism. They complement each other which enables the viewer to invest time and faith in hoping for or against the fates of these terrible individuals. They say it holds the key to transforming individuals who have personalities people do not like into people they cannot help but like. Characters have dreams: Robert has a dream about when he is going to fight with Raymond; Emily dreams about the chosen one.
To sum up, the theme of Kinds of Kindness is introduced in the middle of Act One with an off-key piano performance of How Deep Is Your Love by Margaret Qualley. Love is always strong and going to an extreme extent, there is no better example than cutting off the thumb and offering it to a loved one. In the end, people are imperfect, and doing otherwise means becoming disillusioned with heroes. One choice negates all gained goodness leading to the loss of it all and this is something that Yorgos shows in the most severe disturbing manner which he does not explain but shows to his viewers as well. It seems that humans can be both cruel and kind, however, in the search for love that they believe they deserve, they are ready to go even to the extent of murder.
Kinds of Kindness 2024 Parents Guide Age Rating
Kinds of Kindness is Rated R by the Motion Picture Rating (MPA) for strong/disturbing violent content, strong sexual content, full nudity, and language.
The film’s portrayal of human cruelty and kindness, and the blurred lines between them, invites viewers to reflect on the nature of control, love, and the human condition.
Due to its mature themes, explicit content, and intense psychological elements, “Kinds of Kindness” is best suited for adult audiences who can engage with its complex and often disturbing narrative.
Violence & Gore: The film contains multiple instances of intense and graphic violence. In the first story, there is a car crash scene where a character is instructed to drive at high speed into another vehicle, resulting in a serious accident. Characters engage in physical altercations, and there are scenes depicting self-mutilation, such as cutting out a liver. Acts of cruelty are portrayed, including a character bashing someone with a vehicle and other violent confrontations. These scenes are depicted realistically and disturbingly, contributing to the film’s dark and unsettling tone.
Profanity: There is frequent use of strong language and profanities throughout the film. Characters use explicit language in various situations, adding to the raw and intense atmosphere of the movie. The consistent use of harsh language may be inappropriate for younger viewers or those sensitive to strong verbal content.
Sexual Content: The film includes explicit scenes of a sexual nature and nudity. These scenes involve manipulative relationships and sexual dominance, contributing to the overall theme of control and power dynamics. The portrayal of sexual content is graphic and intended for mature audiences, emphasizing the complex and often disturbing interactions between characters.
Alcohol, Drugs & Smoking: Characters are depicted consuming alcohol and smoking in several scenes. There may also be depictions of drug use, though these instances are not as prominent. The use of substances adds to the film’s gritty and realistic portrayal of the characters’ lives and their coping mechanisms in extreme situations.
