In a world of filmmaking, few directors carve their own niche like Yorgos Lanthimos. Known for his distinctive narrative style, his 2024 dark comedy anthology film “Kinds of Kindness” can be described as a provocative blend reminiscent of “The Twilight Zone.” Featuring Oscar nominee Emma Stone, this film delivers a triptych of twisted tales, each showcasing the actor in various roles, solidifying Lanthimos’s signature blend of absurdity and dark humor. Some fans may have felt let down by “Kinds of Kindness” after the surreal pleasures of “Poor Things,” his earlier collaboration with Stone, but this film stands out as a compelling exploration of unexplained themes.
Lanthimos collaborated with Efthymis Filippou, a frequently recurring co-writer, to craft this unique film, which invites audiences into a world where characters express sharply surreal dialogue with an eerie detachment. With stories titled “The Death of R.M.F.,” “R.M.F. Is Flying,” and “R.M.F. Eats a Sandwich,” the key to understanding this enigmatic film hinges on the character R.M.F.
But who or what is “R.M.F.”? In simple terms, R.M.F. refers to the initials of a character played by Yorgos Stefanakos, who serves as the common thread tying these tales together. Initially, he is contracted for his own assassination by a controlling businessman named Raymond, portrayed by Willem Dafoe. Eventually, Raymond’s disgruntled employee, Robert, brings about R.M.F.’s demise. In a twist, R.M.F. appears again in a later story, reanimated by Ruth, a veterinarian characterized by her unusual magical abilities. In the second segment, he is a helicopter pilot who rescues two researchers, one of whom, Liz, played by Emma Stone, has seemingly returned from a harrowing experience on an island.
Lanthimos himself has downplayed the significance of R.M.F.’s initials, indicating that while they are pivotal to the narratives, they hold no deeper meaning. Audiences are encouraged to interpret them as they wish, and devoted fans have come up with theories ranging from “Random Motherf*****” to “Redemption, Manipulation, Faith.” The film thrives on ambiguity, prompting viewers to ask questions rather than providing straightforward answers.
The stories weave a central theme that explores the lengths characters will go to in pursuit of connection and desire. The protagonists—Robert, Daniel, and Emily—are all consumed by their pursuits, whether it is seeking approval from a boss, longing for a spouse, or yearning for acceptance from a cult. This obsession ultimately leads to their separation from the very objects of their desire. The absence of familial ties is notable throughout the stories, as characters make sacrifices for love, and the ramifications of their choices are left open for interpretation, blurring the lines between right and wrong.
The second story reveals Daniel’s profound attachment to his wife, Liz, who returns altered after an island disaster. Daniel’s struggle culminates in a request for extreme sacrifices from Liz, who he fears is not genuinely his wife. The climatic reunification offers a fleeting moment of joy, set against the alarming backdrop of the deceased doppelgänger.
In the third tale, the theme of contamination plays a crucial role. Emily’s pursuit of the cult’s messiah leads her to undergo severe trials, facing rejection and blame for her assault. This storyline poignantly reflects the tragic realities faced by victims of such violence, ultimately culminating in a dark turn as Emily’s desperate attempts to regain her status lead to a devastating accident.
The film concludes with a post-credits scene that offers a moment of levity amid the film’s grim narrative. R.M.F. is seen casually enjoying a sandwich, ketchup staining his shirt despite the chaos and violence surrounding him. This absurd snapshot encapsulates Lanthimos’s unique approach to storytelling—embracing the mundanity of life, even in the wake of the bizarre.
In the end, “Kinds of Kindness” is a surreal yet thought-provoking examination of human motivations, sacrifices, and the intricate dance between desire and consequence, marking another distinctive entry in Lanthimos’s illustrious career.
