By Jason Osiason

Yorgos Lanthimos’ latest film, Kinds of Kindness, is a bold exploration of human relationships, power, and control, told through three unsettling narratives. The first act, The Death of R.M.F., features Jesse Plemons as Robert, a man trapped in a toxic power struggle with his boss Raymond, played by Willem Dafoe with chilling precision. This segment dives into themes of power dynamics and BDSM, reflecting Lanthimos’ fascination with control and manipulation. It’s a theme explored before, but it serves as a palette cleanser through his vintage lens as a filmmaker and marks a return to Lanthimos’ roots, making the audience distinctly uncomfortable. This polarizing style will be a treat for old-school Lanthimos fans.

In the second act, R.M.F. is Flying, Plemons transforms into Daniel, a husband consumed by paranoia, convinced that his wife Liz, played by Emma Stone, is an imposter. The tension and interpersonal chaos, along with his exploration of companionship through provocative sexuality, build to an ultra-satisfying payoff sequence that really leaves the viewer squirming and questioning the reality of the situation that unfolds. The end credits of this act are seamlessly integrated into the narrative, topped off with one of the funniest end credit callback sequences I’ve seen in memory.

However, the third act, R.M.F. Eats a Sandwich, while thematically rich, suffers from structural flaws that undermine its impact. The story follows Stone and Plemons as cult members on a bizarre resurrection quest, guided by the enigmatic Omi and Aka, played by Dafoe and Hong Chau. This segment feels overstretched, and its pacing drags, diminishing the film’s overall momentum. The connections to the previous stories feel weak, making the act seem like an unnecessary extension rather than a cohesive conclusion. Ironically, if viewed as a standalone piece, this segment might have been more compelling. Its intricate details and intense character moments are overshadowed by the need to tie into the overarching narrative. The film’s ambition is undeniable, but the third act’s weaknesses highlight the challenges of maintaining narrative cohesion in an anthology format.

Kinds of Kindness is a daring and provocative film that showcases Lanthimos’ unique directorial voice. The first two acts are compelling and masterfully executed, but the final act’s structural issues prevent the film from achieving its full potential. Nonetheless, the performances and the film’s thematic richness make it a noteworthy addition to Lanthimos’ body of work, especially for fans of his earlier, more discomforting films. [B]