# Kinds of Kindness: Yorgos Lanthimos’s 2024 Black Comedy-Drama That Will Leave You Speechless
Yorgos Lanthimos is no stranger to pushing the boundaries of cinema. From the surreal dystopia of *The Lobster* to the gothic absurdity of *The Favourite*, Lanthimos has carved a niche for himself as a filmmaker unafraid to venture into the uncharted depths of human perversity and existentialism. His latest film, *Kinds of Kindness* (2024), is no exception. This black comedy-drama anthology, co-written with frequent collaborator Efthimis Filippou, delivers three disturbing, self-contained stories that explore the complexities of power, submission, and the dark absurdities of human relationships.
Featuring a stellar ensemble that includes Emma Stone, Jesse Plemons, Willem Dafoe, Margaret Qualley, Hong Chau, Joe Alwyn, and Mamoudou Athie, the film is divisive, brutal, and darkly hilarious in equal measure. For cinephiles familiar with Lanthimos’s oeuvre, *Kinds of Kindness* is a challenging yet rewarding experience, cementing his reputation as one of modern cinema’s boldest auteurs.
In this blog post, we’ll deep-dive into the film’s structure, its complex themes, and the provocative performances that define it. Whether you’re a Lanthimos loyalist or a casual filmgoer intrigued by the buzz, prepare for an expert-level exploration of this uncompromising work.
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## The Narrative Anatomy of *Kinds of Kindness*
### The Three-Part Structure: An Anthology of Absurdities
Yorgos Lanthimos has chosen the anthology format for *Kinds of Kindness*, dividing the film into three distinct and self-contained stories. This structure allows each segment to explore unique characters and situations while maintaining thematic cohesion. Yet, the shared motif of “R.M.F.”—a mysterious figure referenced in each story—provides an eerie thread of continuity.
#### 1. “The Death of R.M.F.”
In the film’s opening salvo, Jesse Plemons delivers a masterclass in understated despair as Robert, a meek employee entangled in a toxic relationship with his domineering boss and lover, Raymond (Willem Dafoe). The story begins as a darkly comic exploration of workplace power dynamics but quickly spirals into psychological horror when Raymond orders Robert to murder a man identified only as “R.M.F.”
Robert’s eventual capitulation and the gruesome act of violence he commits highlight the lengths to which people will go to reclaim lost authority—or, in Robert’s case, to regain the approval of a sadistic figure. Lanthimos uses this segment to dissect themes of control, dependency, and the fragility of identity, all wrapped in his trademark deadpan humour.
#### 2. “R.M.F. is Flying”
The second story shifts gears into domestic paranoia, with Jesse Plemons returning as Daniel, a police officer whose life spirals out of control when his wife Liz (Emma Stone) mysteriously reappears after a long absence. Daniel’s inability to reconcile with Liz’s return manifests as obsessive suspicion, leading him to subject her to a series of degrading and painful “tests” to prove her identity.
The segment culminates in a harrowing act of self-sacrifice: Liz mutilates herself and serves her own liver to Daniel to prove her loyalty. Tragically, the real Liz arrives moments too late, exposing Daniel’s actions as both futile and grotesquely ironic. This story tackles themes of projection, mistrust, and the destructive nature of possessive love, all while maintaining a surreal sense of horror.
#### 3. “R.M.F. Eats a Sandwich”
The final act takes us into the world of cult devotion, following Emma Stone’s Emily, a devout follower of a mysterious sect obsessed with finding a saviour who can resurrect the dead. Emily’s faith is tested as she secretly reconnects with her estranged family—a husband (Joe Alwyn) and child she left behind. However, her attempt to balance devotion and love ends in tragedy when her husband drugs and assaults her, prompting her expulsion from the cult.
This segment is perhaps the most emotionally devastating, juxtaposing Emily’s idealistic faith with the cruelty of the real world. Margaret Qualley’s brief appearance as a fellow cult member adds nuance to Emily’s journey, further underlining the human cost of seeking salvation in flawed systems.
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## Themes and Symbolism: The Dark Heart of *Kinds of Kindness*
### Submission and Control: The Power Paradox
Each story in *Kinds of Kindness* revolves around power dynamics—whether it’s Raymond’s control over Robert, Daniel’s possessive paranoia towards Liz, or the cult’s psychological hold over Emily. Lanthimos examines the complex interplay between submission and rebellion, showing how individuals are often complicit in their own subjugation for the sake of approval, love, or purpose.
The recurring figure of “R.M.F.” serves as an enigmatic representation of ultimate authority. Whether as a target, a suspicion, or a prophecy, R.M.F. symbolises the unattainable ideals that characters strive for, often to their detriment.
### The Absurdity of Kindness
The title of the film itself is deeply ironic. The “kindness” displayed by the characters often manifests in grotesque, paradoxical ways—acts of mutilation, violence, or sacrifice that defy conventional morality. Lanthimos forces audiences to question the very nature of kindness: Is it an act of selflessness, or a desperate bid for validation?
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## Performances: A Showcase of Unflinching Commitment
### Jesse Plemons: The Reluctant Protagonist
Jesse Plemons is a standout, appearing in the first two segments as vastly different yet equally tormented men. His ability to convey quiet desperation and moral conflict adds depth to Lanthimos’s bleak scenarios.
### Emma Stone: A Chameleon Once Again
Emma Stone’s versatility shines as she portrays two vastly different women—Liz, the enigmatic wife in the second story, and Emily, the devoted yet conflicted cult member in the third. Stone’s ability to oscillate between vulnerability and stoicism anchors the film’s more surreal moments.
### Supporting Cast Highlights
Willem Dafoe’s menacing turn as Raymond in the first segment is a chilling reminder of his knack for playing morally ambiguous characters. Meanwhile, Margaret Qualley and Joe Alwyn bring layered performances to their supporting roles, adding nuance to the film’s already complex narratives.
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## Directorial Brilliance: Lanthimos’s Signature Touch
Yorgos Lanthimos’s directorial style, characterised by meticulously controlled mise-en-scène, dry humour, and hyper-realistic absurdity, is on full display in *Kinds of Kindness*. The film is visually striking, with stark contrasts between sterile interiors and grotesque acts of violence. Lanthimos’s camera lingers uncomfortably on his characters, forcing the audience to confront their moral ambiguities.
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## Critical Reception: A Film That Divides
Unsurprisingly, *Kinds of Kindness* has polarised critics. While some hail it as a bold and uncompromising masterpiece, others find its graphic content and narrative bleakness too alienating. This division is emblematic of Lanthimos’s work, which often appeals to a niche audience with a taste for the unsettling.
### The Marketing Challenge
Given the film’s polarising nature, its promotional campaign must strike a careful balance. Positioning the film as an “arthouse masterpiece” while warning potential viewers of its disturbing content might help attract the right audience without alienating mainstream moviegoers.
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## Conclusion: A Testament to Cinematic Boldness
*Kinds of Kindness* is not for the faint-hearted. It’s a bold, boundary-pushing exploration of human relationships that defies easy categorisation. For fans of Yorgos Lanthimos, it’s yet another daring entry into his already impressive filmography—a work that forces you to laugh, cringe, and reflect, often all at once.
Whether you leave the cinema feeling enlightened or disturbed, one thing is certain: *Kinds of Kindness* will stick with you long after the credits roll.
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