've had this debate more times than I can count: why does Hollywood seem to lack originality these days? It feels like every release is either a superhero film, a sequel, or another rehash of existing intellectual property. I always argue that originality does exist, but audiences often overlook it. When it comes down to it, people are more likely to buy a ticket to a familiar franchise—even if it’s bad—than take a chance on something new. It’s a shame because there’s some truly inventive content out there right now, like "Civil War," "Longlegs," and "Cuckoo." A perfect example is "Kinds of Kindness," a film I’m still thinking about days later, even though I don’t fully understand it. And I love that. I love a movie that challenges you, breaks the mold, and leaves a lasting impression.
"Kinds of Kindness" is an anthology film composed of three separate but interconnected stories, all featuring the same cast playing different characters. The first story, "The Death of R.M.F.," follows Robert (Jesse Plemons), an employee whose entire life is controlled by his boss Raymond (Willem Dafoe). Robert has always followed Raymond's every command, but when he's asked to commit an unthinkable act, he refuses, sending his life into chaos.
The second segment, "R.M.F. is Flying," shifts focus to Daniel (Plemons again), a police officer searching for his missing wife (Emma Stone) who vanished at sea. When she mysteriously reappears, Daniel becomes convinced she’s not really his wife and sets out to prove she’s an imposter.
In the final story, "R.M.F. Eats a Sandwich," Andrew (Plemons) and Emily (Stone) are members of a sex cult led by Omi (Dafoe) and Aka (Hong Chau), who are on a quest to find someone capable of raising the dead. But Emily’s troubled past threatens to unravel everything she holds dear.
"Kinds of Kindness" is the kind of film that sends you down an internet rabbit hole, trying to piece together its deeper meaning. Director Yorgos Lanthimos insists there’s no singular theme, but if you think about it long enough, you’ll find one. The film grapples with ideas of purpose, love, and the desire to belong—interwoven across all three stories. And true to Lanthimos’ style (seen in films like "The Lobster" and "The Favourite"), the narrative is dense and layered, rewarding viewers who enjoy films that make you think.
The film is presented as a "triptych fable," a format where three distinct parts form a whole, similar to a three-paneled artwork. While the stories don’t connect directly beyond the recurring presence of R.M.F., they still feel like part of the same world. Despite its nearly three-hour runtime, the film’s structure helps keep it engaging.
The cast is exceptional. Emma Stone, Jesse Plemons, Willem Dafoe, Hong Chau, and Margaret Qualley each take on multiple roles across the three stories, demonstrating remarkable range and nuance. Plemons, in particular, shines as he transforms from a submissive employee to a paranoid husband and finally a devoted cult member. Stone’s arc is equally impressive, evolving from a mysterious love interest to a possibly deceptive wife, and finally the cult's most devout follower. Dafoe, Chau, and Qualley bring their usual brilliance to their roles, with Dafoe delivering another standout performance.
Musically, the recurring use of "Sweet Dreams" adds a layer of intrigue, hinting at themes the film may—or may not—be exploring. Robbie Ryan’s stunning cinematography elevates the film, making even its strangest moments feel grounded and visually breathtaking. Once again, Lanthimos proves he can take the most unconventional ideas and turn them into something unforgettable, thought-provoking, and divisive.
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