Reanimated brilliance: Poor Things is a bizarre journey of self-discovery
Yorgos Lanthimos, known for his unconventional storytelling and audacious visual style, returns with Poor Things, a film that is as bizarre as it is beautiful. Adapted from Alasdair Gray’s novel, the story follows Bella Baxter (Emma Stone), a woman resurrected by an eccentric scientist (Willem Dafoe). What unfolds is a fantastical journey of self-discovery, empowerment, and the often grotesque realities of human nature. It’s a dazzlingly weird yet surprisingly moving exploration that could only be orchestrated by Lanthimos.
Emma Stone shines as Bella, diving headfirst into the character’s chaotic innocence with fearless abandon. She captures Bella’s evolution from a childlike, unrefined creature into a woman gradually coming to grips with her autonomy and desires. It’s a role that requires Stone to be equal parts endearing, bewildering, and at times unsettling. Her performance is a masterclass in balancing the absurdity of the character’s circumstances with an undercurrent of raw humanity. She manages to keep Bella’s eccentricities rooted in something tangible, allowing audiences to both laugh at and empathize with her journey.
Lanthimos’s direction amplifies the bizarre charm of Poor Things, employing a mix of grotesque visuals, surreal settings, and off-kilter humor to immerse viewers in Bella’s world. The film’s set design and cinematography are a feast for the eyes, blending Victorian-era aesthetics with steampunk influences to create a reality that feels both historical and otherworldly. Every frame is meticulously constructed, brimming with detail that teeters between the beautiful and the macabre. Lanthimos doesn’t shy away from pushing the boundaries of taste and convention, but it’s this very boldness that gives Poor Things its peculiar magic.
The narrative oscillates between dark comedy and poignant drama, exploring themes of identity, sexual liberation, and societal norms through a decidedly feminist lens. Bella’s exploration of her desires and her relentless quest for independence is treated with a mixture of absurdity and sincerity. The film’s script, while sometimes veering into the bizarre, offers sharp social commentary that lingers long after the credits roll. Lanthimos infuses the story with his trademark deadpan wit, creating moments of awkward hilarity alongside more contemplative reflections on the human condition.
However, the film is not without its quirks that may polarize audiences. Its pacing is deliberately erratic, jumping from scenes of quiet introspection to bursts of chaotic energy. Some viewers might find this disorienting, while others will revel in its unpredictability. The surreal tone and graphic elements may also challenge those unaccustomed to Lanthimos’s offbeat storytelling. Yet, for those willing to embrace the madness, Poor Things offers a uniquely rewarding experience, one that is both thematically rich and visually enthralling.
In essence, Poor Things is a bold, eccentric exploration of what it means to be human. Lanthimos and Stone create a fantastical world that feels strangely relevant, filled with humor, horror, and heart. It’s a story that revels in its weirdness but never loses sight of its deeper messages about freedom, self-discovery, and the complexities of desire. It might be too peculiar for some, but for those open to its oddities, it’s a truly unforgettable ride.
