Yorgos Lanthimos' most confident and garish endeavor, the sci-fi drama allows Emma Stone to flex her comedy chops. Our Poor Things review:
opens with static shots of silken embroidery. It is hard to ascertain the images themselves, threaded so neatly in a near-identical gray. But the slippery, elusive texture is integral to the film, which weaves together something thick and rich with detail. What follows is narrow in its focus and big and engulfing in its scale: The story of a young woman who must overcome the experiments enacted against her while embracing her changing body and irrepressible urges.
As such, this adaptation of Alasdair Gray’s book of the same name is difficult to summarize, loosely following Bella Baxter as she grows to embrace adulthood despite the overbearing tutelage of her de facto father God . Once introduced to the dashing and cocky Duncan Wedderburn , Bella recognizes the pitfalls of her sheltered life and endeavors to travel around the world, experiencing life anew before marrying her father’s sweet and bumbling assistant Max McCandles .
The only lesson Bella must learn is that actions have a delicate, uncomfortable but necessary relationship to consequences. Early on in her development, Max holds a small frog out in his palms, intending to teach Bella about a new facet of natural life. She clamps his hands together, squishing the frog and grinning at the stain of inky black blood. It is a moment that is then refracted in the rest of Bella’s life, coloring her sexual awakening and philosophical musings.
Bella discovers answers to such overwhelming questions slowly, leaping to conclusions and then lurching back in regret. It is a deliciously amoral journey, the kind that has already secured Lanthimos ample praise over the course of his career. But this is perhaps the filmmaker’s most garish and confident endeavor, using Bella’s naive perspective to design a world so heightened that it exists somewhere between a nightmare and a dream.
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