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Hollywood can make you ‘miserable.’ ‘White Lotus’ star Aubrey Plaza just laughs it off

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Hollywood can make you ‘miserable.’ ‘White Lotus’ star Aubrey Plaza just laughs it off

Aubrey Plaza.

(Maiwenn Raoult / For The Occasions)

Within the second season of HBO’s “The White Lotus,” Aubrey Plaza performs Harper Spiller, a lawyer with a penchant for sarcasm who’s vacationing in Italy together with her husband and his pals. She’d moderately learn Valeria Luiselli’s “Misplaced Kids Archive” than discuss “Ted Lasso.” And she or he’d moderately not affiliate with individuals who don’t observe the information.

Plaza is paired with Will Sharpe, who performs her husband, Ethan — newly rich after promoting his tech firm — in addition to Theo James, as Ethan’s previous faculty buddy Cameron, and Meghann Fahy as his cheerful spouse Daphne, who kicks off the season’s thriller when she discovers a limp physique floating at sea.

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Plaza brings an all-too-relatable cynicism to the judgmental, pragmatic Harper, which can come as no shock to these accustomed to the reducing deadpan that outlined Plaza’s breakout function as intern-turned-assistant April Ludgate in “Parks and Recreation.”

It was not too long ago introduced that Plaza would be a part of the forged of “Agatha: Coven of Chaos,” Marvel’s upcoming “WandaVision” spinoff sequence that includes Kathryn Hahn because the titular witch.

Contemporary from a day of capturing the brand new Francis Ford Coppola movie “Megalopolis” in Atlanta, the 38-year-old actress mentioned the thrilling discomfort in Mike White’s writing, expertly enjoying a Debbie Downer and gearing up for the Marvel universe.

How did “White Lotus” discover its option to you?

My entryway, I believe, was very totally different than another folks’s as a result of Mike and I had a relationship earlier than. We’ve been pals for a very long time. We had been going to do a film collectively — one thing that we had been growing collectively for a pair years — and we had been purported to shoot it proper when the pandemic hit. After which the film fell aside due to the pandemic, and he form of switched gears to “The White Lotus.” So, when Season 2 got here round, he known as me very, very early on and simply mentioned, “Don’t take a job within the winter as a result of I’m going to jot down you within the present.”

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Are there plans to resurrect that movie script sooner or later?

I’m undecided if the film gods have it in them. I don’t know, we’ll see. I’ve talked about it earlier than. It’s a film that’s form of primarily based on an concept that I pitched to Mike years in the past about me touring to Sweden to reconnect with my Swedish trade pupil high-school boyfriend, who I hadn’t seen in 10 years. Mike beloved the thought of that, however then we began touring in Scandinavia collectively engaged on this concept. After which the thought form of developed and it grew to become nearly form of a film about Mike and I touring in Sweden collectively.

I believe we want this film. However let’s discuss “The White Lotus.” I really feel like I’m Harper, she is me. And I like how folks on Twitter are like, “Is that this how I sound to different folks?” What was your first impression of Harper and her penchant for cynicism once you first learn the script?

I discovered her very sympathetic. I actually relate to her in a number of methods. As a result of you recognize early on that she’s probably not from this world of the extremely, extremely wealthy, though she’s a bit bit uptight and closed off, to start with anyway, you form of really feel for her. She’s our means into that world, in some methods, and all the opposite characters are barely much less conscious. And she or he’s simply very conscious. And she or he’s a lawyer. So I believe there’s a component of her form of always criticizing and analyzing each state of affairs that’s nearly extra of a character quirk. It’s simply instinctually, that’s what she does. My worry to start with was, I don’t need her to return off as only a Debbie Downer. … I by no means considered her like that. I consider it as, you’re catching somebody in a second the place they’re not that glad. And her marriage isn’t going that nice. However they only occur to be in essentially the most stunning place on the earth. And that occurs. That’s life. I discover her extra unhappy than bitchy.

May you relate to that? How do you view the dynamic between Harper and Ethan?

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I believe a number of married {couples} can relate to the peaks and valleys of a wedding. You’re form of catching them in a dip. They’re in a rut. I completely relate to that. I’ve been married for — I imply, I haven’t been married that lengthy, truly, however we’ve been collectively in a relationship for a very very long time. I’ve had a number of long-term relationships. So I perceive feeling such as you’re looking for your means, particularly once you’re confronted with one other couple who appears to have all of it. It’s onerous to not examine your self to them. Each couple does that; you begin to simply decide your self and your relationship, like, “Am I as glad as them?”

Lots of people know you out of your time on “Parks and Recreation,” however since you then’ve proven totally different sides of your self as a performer with tasks like “Ingrid Goes West” and “Legion.” Your 2020 movie “Black Bear” was an actual thoughts journey. Did you discover it a problem to get Hollywood to see past your deadpan skills?

I don’t wish to do the identical factor time and again. And I believe that once you’re in Hollywood, and you’ve got performed a personality on tv for years and years and years, folks form of need the identical factor, or they assume that’s your factor or no matter. Quite a lot of actors undergo that. It’s onerous to not be pigeonholed. I’ve at all times felt a drive to interrupt out of that field; I by no means wish to really feel complacent. I wish to do issues that I haven’t executed earlier than. Like, with “Black Bear,” that was so hyperbolic. There’s descriptions in that script which can be ridiculous. I can’t bear in mind precisely the way it goes, however in direction of the tip of the film, when Allison is performing within the film inside the film, there’s a sentence within the script that’s like, “she provides the most effective, most heartbreaking efficiency that anybody has ever seen” or one thing insane. And I’m like, “Properly, uh, OK, I assume I can’t anticipate that day of capturing when I have to provide the most effective efficiency.” That’s scary to me to, nevertheless it’s enjoyable. I at all times joke after I’m capturing a film — like, I joked about it to Francis Ford Coppola the opposite day, I’m like, “the actual factor is to play a personality in the movie, after which create one other character to play whilst you’re capturing the movie for the off-camera stuff.” The extra characters the higher.

We’re at all times performing. And that will get at this season of “The White Lotus.” It’s in regards to the haves and the have-nots, and cash and its affect, nevertheless it’s additionally about women and men and intercourse and romance. What strikes you about Mike’s writing and the way in which he infuses it with social commentary?

He loves writing issues that make the viewers a bit bit off-kilter — like, folks don’t know who the villain is as a result of everyone has these qualities which can be barely despicable. However, then, everyone’s relatable. He’s a difficult bastard. I don’t know tips on how to describe him. He’s just like the Pied Piper, you recognize? That’s actually what he’s. He’s the Pied f— Piper and he will get all of the little kids and all of the little rats to return observe him into the f— water by enjoying the f— “White Lotus” theme. Image him with a bit hat with a bit feather, with like knickers, and he’s simply, you recognize, dancing round whereas everyone else f— bares their soul.

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A woman glares while clutching a coffee cup.

Aubrey Plaza as Harper Spiller in “The White Lotus” Season 2.

(Fabio Lovino / HBO)

He’s so good on the discomfort. It may be so uncomfortable to look at what’s occurring.

“Chuck & Buck,” which is his first movie that he wrote and starred in, was uncomfortable and excruciating. And I believe that we actually join on that stage. That uncomfortable, form of awkward space is what I’m drawn to along with his writing. He makes you squirm. And he likes doing it. He enjoys watching you squirm.

A few of your most dynamic scenes are clearly with Will Sharpe, Theo James and Meghann Fahy. Off-set, did everybody kind of keep of their group bubble?

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No, all of us had been in a single massive bubble collectively as a result of we had been all dwelling collectively. All of us grew to become tremendous shut. That was the enjoyable a part of it, too, that I grew to become actually shut with folks I had no traces of dialogue with. We had been all in some form of bizarre, bizarro performing camp or no matter. We had numerous group dinners as a result of that’s what you do in Italy. You simply eat, you drink, you eat, you drink once more.

Had been there a number of forged excursions and, like, wine tastings and all that stuff?

We lived the tour, we had been at the tour. However Meghann, I don’t assume she would care if I mentioned it, had her celebration on the vineyard that we shot at, truly. So, earlier than we shot there, we had celebrated Meghann’s birthday there with an enormous group dinner. It was superior. We had been all one another had.

Had been you capable of, like, communicate Italian by the tip? Or had been you already good at that?

I bought fairly good at it, truly, which is enjoyable as a result of on the film I’m on now, there’s a ton of Italian. I’m fairly good; I’m not that good. Even after I bought again, I used to be nonetheless form of utilizing the vernacular, little phrases. It’s seeped into my mind for positive.

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You had one other mission this yr that supplied some social commentary — “Emily the Felony,” which you starred in and produced. The character you play is a girl who’s determined to repay her pupil loans and attempting to get her life on monitor and kind of turns to a harmful lifetime of crime. Why did you are feeling like this was a significant movie to make proper now?

I’ve been attempting to make that film for years. It simply so occurs to nonetheless be related. There’s a complete technology of younger folks that may really feel seen by this film — people who find themselves drowning in pupil debt. So it felt like, why not make a film so folks can have some form of catharsis?

Rising up, what was your grasp on cash and its significance in navigating the world? I learn that your dad was a monetary advisor — did it get instilled in you early on what cash might do and never do for you?

Yeah, as a result of my mother and father didn’t develop up with cash. Once I was born, we didn’t have cash. My mother and father labored actual onerous after I was rising as much as get to the place they’re now. My dad, after I was rising up, was a door-to-door salesman, promoting books. He was a taxi driver in Philadelphia — he labored many roles and, then, finally, bought into the finance world and labored his means up. So my mother and father didn’t come from privileged backgrounds. My mother put herself by means of night time faculty. It was at all times instilled in me, that drive, that ambition, and the way onerous work actually can repay. I simply really feel grateful that I bought to expertise each components of it. I perceive each worlds.

How has Evil Hag Productions shifted your objectives within the business? Like, how has sporting the producer hat kind of modified your outlook on the performing aspect, and vice versa? How have they knowledgeable one another?

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Evil Hag has at all times been a dream of mine since I used to be in movie faculty. It’s about management and freedom — the liberty to make what I wish to make and work with who I wish to work with. The thought of getting a manufacturing firm the place I can take dangers on people who I imagine in simply looks as if the last word purpose. I like performing and I wish to act till I’m useless. I don’t assume I’ll ever cease performing. However I’m additionally actually decided to make nice motion pictures. Motion pictures modified my life and to be ready the place I can take dangers on different filmmakers and prop different folks up makes me glad. It’s actually onerous to to know what the endgame is once you’re in an business like Hollywood as a result of you will get all of the stuff you assume you needed, after which simply be depressing. Evil Hag Productions is a means for me to be glad.

Aubrey Plaza sitting in a pink chair at a wooden table.

“I didn’t imply to be on tv, I used to be attempting to be in motion pictures,” mentioned Plaza of touchdown her breakout function on “Parks and Recreation.” After which they known as me and informed me I used to be gonna be on a tv present. And I’m like, ‘Properly, I didn’t even need that, however I’ll do it!’”

(Maiwenn Raoult / For The Occasions)

I wish to discuss “Parks and Recreation” for a second. As a result of I do know Yvonne Villarreal Mike [Schur] has shared the story about having essentially the most awkward assembly with you, which in flip prompted the creation of April Ludgate. How do you bear in mind this assembly?

I really feel like I’ve false reminiscences now of this assembly. All I can say about it’s that I do know that, at the moment, I used to be not conscious of how essential this assembly was. I used to be very distracted about being on a set of “The Workplace” as a result of I used to be a very massive fan. And so it was my first time in Hollywood. I didn’t know what was occurring. So, I used to be in all probability simply distracted and I in all probability wasn’t throwing myself at him like I ought to have been. So possibly he thought “this woman’s bizarre; does she even wish to be right here?” I don’t know what I did. I believe all the things to me is humorous. If I actually wish to psychoanalyze myself, it could possibly be, like, only a protection mechanism; I favor to simply form of stay my life like I’m gonna die any minute or one thing. I don’t wish to take something too severely. I simply mainly make a joke out of all the things in order that I don’t must, like, cope with the results. Generally it actually works out similar to that. I didn’t imply to be on tv, I used to be attempting to be in motion pictures. After which they known as me and informed me I used to be gonna be on a tv present. And I’m like, “Properly, I didn’t even need that, however I’ll do it!” After which it went on for seven years. The joke was on me, I assume.

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Did you at the very least get a tour of “The Workplace” set out of that assembly?

No, they didn’t even give me a goddamn tour. All I might do was look out the doorway and see the totally different actors strolling by — Mindy Kaling and BJ Novak. I simply bear in mind going like, “Oh my God. These are the actors on ‘The Workplace.’”

Properly, the announcement of your subsequent TV mission bought an enormous response. You’ll be starring alongside Kathryn Hahn within the “WandaVision” spin-off, “Agatha: Coven of Chaos.”

The Marvel factor is sort of a overseas factor to me. I’m suspicious of it, I don’t perceive it.

You’ve labored with Elizabeth Olsen earlier than in “Ingrid Goes West.” And Kathryn did one thing on “Parks and Rec,” proper? However that is the primary time working with them beneath the Marvel umbrella. What do you assume it’s going to be like? Who will make you break essentially the most?

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I’m scared to speak about it in any respect as a result of they’ve, like, instilled this, like, worry in me. To be trustworthy, Kathryn and I haven’t actually labored collectively; I believe we had been in, like, a pair group scenes collectively in “Parks and Rec,” possibly there was, like, one interplay between April Ludgate and her character, however that was so way back. I do know her extra as a buddy. I’m simply so excited to work together with her. She’s the very best. I believe me and Hahn are gonna crack one another up. I’m gonna attempt to make her break. However no person can take me down. No one.

We all know that Harper doesn’t watch “Ted Lasso,” however do you assume she would watch “Coven of Chaos”?

I don’t assume so. I believe Harper likes “Mare of Easttown.” And secretly she watched “The Kominsky Methodology.”

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Movie review: 'Despicable Me 4' fun for kids, nightmare for adults

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Movie review: 'Despicable Me 4' fun for kids, nightmare for adults
The experience of watching “Despicable Me 4” is a Kafkaesque nightmare, and not only because one of the main characters turns himself into a roach. The film is an interminable 95 minutes of circular, intertwining, seemingly never-ending storylines rendered with such audio-visual cacophony that it dissolves into an indiscernible din. This fourth (or is it sixth?) installment of the inexplicably …
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25 years after 13-year-old dancer's death, her legacy lives on at L.A. charter schools

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25 years after 13-year-old dancer's death, her legacy lives on at L.A. charter schools

The Angelus Temple megachurch in Echo Park was the unlikely venue (and largest to date) for the Gabriella Charter Schools’ year-end dance recitals. Friends and family packed the 5,300-seat, three-story theater for two performances on a Saturday in June, which transported them from California’s redwood forests and Central Valley farms to the schools’ home of Los Angeles.

Sixth grader Annabelle Soriano took the stage as a voice-over in English and Spanish told the story — inspired by José Cruz González’s play “Two Donuts” — of a Guatemalan American girl who doesn’t see the beauty in her L.A. neighborhood. So, in her dreams, she embarks on an adventure through the Golden State in search of meaning. Students explore California through classic dance styles including tap, hip-hop and ballet mixed with moves popularized on TikTok and by the video game “Fortnite.”

Audiences lined Glendale Boulevard hours before the two performances. Gabriella Charter Schools Executive Director Rhonda Baldenegro said this is the norm for the schools’ annual recital — even though it’s only their second in-person performance since the COVID-19 pandemic.

Parents made costumes for each campus’ annual recital, including cactus sweatsuits for the third-grade “Joshua Tree” performance.

(Heather Seybolt)

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The event’s popularity is a testament to Liza Bercovici’s decades-long commitment to dance education. Bercovici, a former attorney, founded an after-school dance program for low-income communities in 1999 in honor of her 13-year-old daughter, Gabriella Axelrad, who was killed that year by a distracted driver while bicycling during a family vacation. Gabriella was a dancer and dreamed of becoming a teacher. In 2005, the program grew into a charter school for students from kindergarten through eighth grade. The Echo Park campus that is now its home opened in 2009 and spawned a second location in South L.A. in 2017. About 400 students are enrolled at each school.

Twenty-five years after Gabriella’s death, her legacy lives on.

“We serve a pretty impacted population and any experience that can be offered them that enhances their lives, to me, is just really, really important,” Bercovici said. “We as an organization have made this commitment to provide arts and dance at a very high level and a very frequent level, and that’s very atypical.”

Baldenegro said GCS is one of the few public schools in the country to teach dance as a part of the curriculum multiple days a week. For many of GCS’ low-income students, it’s their sole opportunity for formal dance training.

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Even after their big year-end recital, as summer vacation loomed, the kids at GCS kept dancing. For five students, the dancing will continue through the summer at the Theatrical Education Group’s Summer Arts Conservatory at Los Angeles County High School for the Arts. While enrollment costs more than $1,200, GCS students received full-ride scholarships.

GCS dance instructor Antavius Ellison was the catalyst in connecting the school and the program.

Kids in wetsuits perform onstage. A girl in pink jumps and poses in the center.

The Gabriella Charter Schools’ “Cali Dreams” recital, which included the third grade’s “Beach” routine, depicted different areas of the state.

(Emann Mallorca)

“The more I’m able to introduce [students] into those spaces now lets me feel like, ‘Hey, you’re doing your job. You didn’t have this growing up and now you’re able to pay it forward [in] a very hopeful way,’” said Ellison, a professional dancer who’s appeared in music videos for SZA and Hozier. “I feel like that’s one of my purposes for being at GCS right now. … I take it as a sign from God that you are doing just what you need to do.”

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One of the conservatory scholarship recipients is rising eighth grader Madison Pinon, whom Ellison personally chose for the scholarship. He calls her his “little assistant/mentee.”

“As soon as she found out, I’ve never seen that smile,” Madison’s mother, Berlin Pinon, said. “[It was] ear to ear that whole weekend.”

The young dancer joined GCS in fifth grade. She hadn’t taken classes since she was 8 years old. As her dance skills progressed, Madison began assisting Ellison in leading classes for younger students at the Echo Park campus.

Children in tie-dyed outfits dance on a stage with purple lighting.

The 2024 dance recital marked the schools’ second in-person performance since the COVID-19 pandemic.

(Heather Seybolt)

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The 13-year-old hopes to learn new styles of dance during the three-week program in July.

“In sixth grade, I discovered dance is something I can pursue in the future, something I can do for a living,” Madison said. “I feel like if I believe in the fact that I can — and in myself — I probably would be able to get there.”

Fifth-grader Nathan Sandoval is one of the scholarship recipients from the South L.A. campus. His mother, Nora Martinez, was “in shock” when she found out about the opportunity.

“I feel so blessed because they see my son has talent,” she said. “These are achievements that he’s doing himself because he loves [dance].”

Martinez said the 11-year-old was a born performer who finally shed his shyness at GCS.

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“He always tells me before he goes onstage, ‘Mom, I’m doing this for you because you cheer for me and I know you’re going to like my dance,’” Martinez said.

Even as the COVID-19 pandemic forced schools into virtual learning, the dancing never stopped. During the spring 2020 semester, dance instructors recorded videos for students to watch, said Echo Park principal Stephanie Piazza. The school still put on its recital — although that year’s took the form of videos stitched together of the students dancing at home.

“In a lot of places, the pandemic stopped stuff that schools had been doing. And we just were like, ‘No, this matters. This is important. We’re going to figure out a way to do it,’” Piazza said. “Anytime I see a clip of the [2020] performance we did, it’s really emotional because we were all so lonely and sad, and we still found ways to connect like that.”

Children dance in black pajamas onstage in front of a starry night backdrop.

Gabriella Charter Schools teach dance to students three days a week, every week.

(Heather Seybolt)

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The schools’ commitment to dance earned them a California Pivotal Practice Award for innovation during the shutdown.

“Something I’m really proud of is that we never stopped doing any arts, even as budgets go everywhere all the time in California, that’s just because it’s our mission and vision that will never get touched,” Piazza said. “[Dance is] such a powerful way for kids to express themselves. … It’s really amazing for kids, as young as 4 at our school, to have this other space where they can shine.”

Dance classes have been shown to help students’ physical and emotional well-being. In 2016, the Copenhagen Consensus Conference found that physical activity improves scholastic performance and brain function. Meanwhile, children’s arts education has been linked to improved grades and attendance.

“We really, truly believe in sort of the transformative power of dance, and how it can help kids learn better and just be more competent, poised individuals who have this great mind-body connection when it comes to learning,” Baldenegro said.

Walking through the Echo Park campus, everyone knows everyone else’s name. The common theme among students, family and faculty: a love for the community the schools have created.

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“A lot of kids at my old school, they all kind of stick to their own group and they aren’t so happy,” Madison said. “But here, a lot of people are happy; they get really happy through dance.”

The schools’ dance classes mix classic cardio exercises such as jumping jacks and high knees with choreography. The students move to popular tunes from artists such as Kali Uchis and Harry Styles. One dance to Drake’s “Controlla” was choreographed — and, for the first-grade class, led — by Madison.

Previously, Madison “stuck to choreography” that was familiar to her. She has since felt empowered to choreograph original dances in order to “express more” through her own movements, she said.

“I’ve seen a lot of growth within her, not only in her dancing skills — obviously with more practice that’s bound to happen — but just leadership skills and discipline. She really is committed and sets plans for everything,” Berlin said. “I can see she’s shaping up to be a great young woman.”

After the class concluded, two second-graders wanted to show off a dance they made up, complete with acrobatics.

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“I couldn’t have paid them to have done that last semester,” Ellison said.

While the dance instructors at the schools are in charge of choreographing the recital, Ellison said he makes sure to incorporate his students’ moves.

“I want to give my students more agency to be able to create because I feel like that allows them to be more confident within themselves,” Ellison said. “They are taking up space in a very healthy way. … A space is given for them to trust in their natural abilities, and to understand that movements and creativity will always look different, based off of the person, and there is no — to me — right or wrong way to move your body, to dance.”

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‘Kinds of Kindness’ review: Darkly comedic anthology explores humanity

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‘Kinds of Kindness’ review: Darkly comedic anthology explores humanity

Throughout his filmography, Yorgos Lanthimos is interested in themes of love and obsession, often explored with characters, who seem to be living on the edge of normal society, as evident in 2009’s Dogtooth, which centered on a husband and wife who keep their children ignorant of the world outside their property well into adulthood. 2024 is already quite the year for the Greek director as his previous outing Poor Things has been a critical and commercial success that has won four awards at this year’s Oscars, and now his latest feature Kinds of Kindness is finally released. 

Amidst the Frankenstein-like science and “furious jumping”, Poor Things is more of a crowd-pleaser through its story of self-discovery within the harsh reality of the otherwise outlandish world. Reunited with his long-time collaborator/co-writer Efthimis Filippou, Kinds of Kindness – set in modern-day New Orleans – is closer to Lanthimos’ earlier work like The Lobster and The Killing of a Sacred Deer, where people are plunged into situations that effectively shake up their lives and lose any touch of humanity in order to get out of it. 

Since Lanthimos’ films often challenge you, though not without some dark humor creeping into the mix, Kinds of Kindness is essentially three films for the price of one, with the same seven actors – Emma Stone, Jesse Plemons, Willem Dafoe, Margaret Qualley, Hong Chau, Joe Alwyn and Mamoudou Athie – appearing in each one in a different role.

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The first of which, titled “The Death of R.M.F”, is about Robert Fletcher (Plemons) who follows every order that is given to him by his controlling boss, Raymond (Dafoe), until he refuses to do an act which causes his life to fall apart. Similar to Lanthimos’ 2019 short film Nimic, it is a darkly funny study of a man who regrets this one decision and how it spirals out of control, with an extraordinary turn from Plemons, who tries to maintain his composure and yet it looks he’s about to break. 

Considering the disturbing outcome of the first narrative, it feels tamed compared to the second story, “R.M.F. is Flying”. Left emotionally devastated after the disappearance of his wife Liz (Emma Stone), a marine biologist, police officer Daniel (Plemons) receives a call saying she has been rescued. As she returns home, her strange and seemingly reversed behavior leads to Daniel suspecting her of being an imposter. As well as being more disturbing and ambiguous than the other two narratives, “R.M.F. is Flying” cements a central theme which is somewhat meta to the film’s multiple casting of the same actors, playing characters who are wrestling with their own identity. Playing a married couple that is becoming more about obsessive delusions, leading to horrific abuse, Stone and Plemons are amazing in roles where you can’t tell whose side you should be on, if any. 

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As great as Emma Stone is in the first two narratives, it is in “R.M.F. Eats a Sandwich” where she really gets to shine, and yes, this is where she performs her improvised dance that has been used in the film’s promotion. In this third and final instalment, Emily and Andrew (Stone and Plemons) are two cult members who are looking for a woman with the ability to bring back the dead. Considering this is the closest to a Coen Brothers film, where it almost feels like an enjoyable crime caper, what could easily be a cautionary tale about not joining a sex cult led by Dafoe’s Omi, the story makes a dark implication into why Emily would choose the life of a cultist, as seen in a scene where she revisits her old life as a mother and a wife. 

Considering the hopeful nature and visual experimentation of Poor Things, whether consciously or not, it feels Lanthimos wants to return a world where there is no positive outcome of anybody, whilst cinematographer Robbie Ryan, shooting on 35mm Kodak film, presents a stunning, if mundane look of the many settings of New Orleans. Amongst the loose connective tissue between these three tales, including the brilliant cast and similar locations, the only sense of hope that Kinds of Kindness is the dreams that some of the characters have and no matter how nonsensical they are, it is better than the harshness that the real world can throw at them. One dream involving dogs delivers the biggest laugh-out-loud film of the entire film.

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kinds of kindness

‘Kinds of Kindness’ review: Darkly comedic anthology explores humanity

Kinds of Kindness

Returning to the director’s roots, so to speak, Kinds of Kindness is strange, uncomfortable and challenging, if you can adjust to the tone of this near-three-hour anthology piece, you will enjoy this experience where you don’t know whether to laugh or pleasantly appalled at.

An incredible cast – with Emma Stone and Jesse Plemons taking center stage – that go into strange places by playing three separate roles.

Three distinct storylines that are a darkly comedic exploration of love and obsession, a recurring theme in Lanthimos’ filmography.

Balancing moments of dark humor, with profound ideas about identity and purpose…

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…even though the lack of easy answers and the lengthy running time will challenge a good section of the audience.

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