Name: Poor Things
Genre: Science Fiction, Romance, Comedy
Released: 2023-12-07T00:00:00+00:00
Cast: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, Christopher Abbott

The grainy black-and-white opening of Poor Things (2023) plunges us into a world viewed through fish-eye lenses and peepholes, a visual strategy that Yorgos Lanthimos employs to keep us perpetually off balance. This isn’t just an aesthetic choice; it’s a thematic one, reflecting the film’s exploration of perception, control, and the distorted lens through which society views women. Based on Alasdair Gray’s 1992 novel Poor Things: Episodes from the Early Life of Archibald McCandless M.D., this postmodern retelling of Frankenstein is a feminist manifesto, a dark comedy, and a visual tour de force all rolled into one.

At the heart of the film is Emma Stone‘s Bella Baxter, a woman brought back to life with the brain of her unborn fetus. This premise alone is enough to pique curiosity, but it’s Stone’s performance that truly elevates the material. She imbues Bella with a childlike wonder and curiosity, but also with a growing assertiveness and sexual liberation that challenges the patriarchal norms of late Victorian society. Stone’s physical comedy is a highlight, particularly in the film’s early scenes where Bella’s newfound mobility leads to a series of slapstick mishaps. But it’s her emotional depth that truly shines, as Bella evolves from a wide-eyed innocent into a fierce advocate for women’s rights and social reform.

Lanthimos’s direction is characteristically uncompromising. He employs a grunge aesthetic that feels both vintage and fresh, with a visual style that keeps the audience perpetually on edge. The use of fish-eye lenses and peepholes creates a sense of voyeurism, as if we are intruding on Bella’s journey rather than observing it from a safe distance. This choice amplifies the film’s themes of surveillance and control, adding an extra layer of tension to Bella’s adventures. The film’s cinematography is a testament to Lanthimos’s unique vision, with each frame meticulously composed to reflect the film’s central preoccupations.

The supporting cast is equally impressive. Mark Ruffalo plays Duncan Wedderburn, the decadent lawyer who becomes Bella’s companion on her whirlwind trip across Europe and the Middle East. Ruffalo brings a charming roguishness to the role, but also a sense of underlying menace that makes his eventual downfall feel earned. His performance is a masterclass in balancing humor and pathos, making Wedderburn a compelling yet deeply flawed character.

Willem Dafoe is equally compelling as Godwin Baxter, the eccentric scientist who brings Bella back to life. Dafoe’s performance is a masterclass in understatement, with every subtle gesture and inflection conveying a wealth of emotion. His portrayal of Baxter is nuanced and complex, capturing the character’s brilliance, eccentricity, and underlying humanity.

However, Poor Things is not without its flaws. The film’s pacing can be uneven, with some scenes feeling rushed while others linger too long. The shift in tone from dark comedy to social commentary can also be jarring, making it difficult to fully invest in the emotional beats of Bella’s journey. Additionally, some of the supporting performances, particularly Ramy Youssef as Max McCandles and Christopher Abbott as Alfie Blessington, feel one-note at times, lacking the nuance that Stone brings to her role.

The film’s exploration of feminist themes is both timely and thought-provoking. Bella’s journey is a powerful metaphor for the struggle of women to assert their agency in a world that seeks to control them. The film’s critique of Victorian society is scathing, but it’s also relevant to contemporary debates about gender equality and social justice. Poor Things is a film that demands attention, but it doesn’t always hold it. Its uneven pacing and tonal shifts can make it difficult to fully invest in the story, and some of the supporting performances feel underdeveloped.

But these flaws are outweighed by the film’s many strengths—a standout performance from Emma Stone, a visually striking aesthetic, and a timely exploration of feminist themes. The film’s unique blend of dark comedy and social commentary makes it a standout in Lanthimos’s filmography, and a testament to his ability to push boundaries and challenge conventions.

Poor Things is a film that will leave a lasting impression. It’s not a perfect film, but it’s one that demands to be seen and discussed.