Poor Things – Film Review

Poor Things, directed by Yorgos Lanthimos and based on the novel by Alasdair Gray, is a visual and narrative marvel, blending surrealism, dark humor, and existential depth to deliver a wildly original experience. Lanthimos, known for his boundary-pushing works like The Favourite and The Lobster, collaborates with Emma Stone, who takes on a bold and fearless role as Bella Baxter, a character as unforgettable as the film itself. Together, they craft a story that is as disturbing as it is captivating, pushing viewers to reflect on the concepts of identity, freedom, and agency.

The plot of Poor Things follows Bella Baxter, an innocent yet audacious woman brought back to life by the eccentric scientist Dr. Godwin Baxter (played by Willem Dafoe). Bella’s rebirth is a physical one but also a psychological and emotional rebirth, as she navigates a Victorian-era world through a fresh, uninhibited lens. Unlike traditional Gothic or Frankenstein-like narratives, Bella’s journey is not confined to horror or tragedy but expands into a curious, liberating exploration of personal desire and societal constructs.

As Bella evolves and begins to make her own choices, her journey becomes one of self-discovery in a world that attempts to box her into predefined roles. The film thus takes what could have been a classic story of reanimation and gives it a feminist twist, exploring Bella’s development from a controlled, naive creation into a powerful, self-determining individual.

Emma Stone delivers a fearless performance as Bella, throwing herself into the complexities and idiosyncrasies of the character with a blend of vulnerability and strength. Bella’s mannerisms, speech, and curiosity about the world exude an innocence that feels alien yet genuine, showcasing Stone’s ability to handle both humor and horror within seconds of each other. Bella’s interactions, whether humorous or shocking, serve to underscore her character’s journey from obliviousness to self-awareness.

Stone’s physicality in the role is especially striking. Bella is a character unshaped by societal etiquette, moving in an unconventional manner and speaking bluntly without the filter of learned social niceties. This physicality brings a refreshing authenticity to Bella’s exploration of her sexuality and desires. In Stone’s hands, Bella’s liberation feels like a triumphant reclamation of identity, unapologetically raw and groundbreaking.

Willem Dafoe as Dr. Godwin Baxter is as eccentric as ever, giving the film a whimsical and slightly sinister tone that Lanthimos skillfully uses to heighten the surreal nature of Bella’s world. Dafoe’s Dr. Baxter is fascinatingly ambiguous: is he Bella’s savior or her captor? Dafoe’s expressive and transformative acting style makes this ambiguity all the more compelling, as he oscillates between a genuine father figure and a twisted Frankenstein-like creator.

Mark Ruffalo, playing Duncan Wedderburn, Bella’s love interest, provides a foil to Dafoe’s character. Ruffalo brings a sleazy charm to the role, infusing Wedderburn with a complex mix of attraction, repulsion, and opportunism. His chemistry with Stone adds layers to Bella’s journey, challenging her sense of independence and desire in scenes that are as thought-provoking as they are awkwardly humorous.

Yorgos Lanthimos once again proves his talent for constructing worlds that exist in a slightly distorted version of reality. The Victorian setting of Poor Things is both lush and grotesque, an environment that feels as alive as Bella herself. The costumes, set design, and cinematography work in harmony to create a uniquely stylized version of the era. Lanthimos’s world is strange and unpredictable, mirroring Bella’s own fractured understanding of society.

The cinematography, handled by Robbie Ryan, is nothing short of extraordinary. Ryan uses a desaturated color palette with sudden bursts of vibrant hues, reflecting Bella’s awakening and the emotional shifts within the story. The camera’s movement is as fluid and unpredictable as Bella’s journey, taking the audience on a visual trip that mirrors her evolving perspective. Whether it’s the bleak interiors of Dr. Baxter’s lab or the opulent chambers Bella explores in her quest for self-discovery, the film is a visual feast, each frame crafted to evoke both awe and discomfort.

Underneath its bizarre exterior, Poor Things is deeply layered in social critique. The story’s feminist undertones emerge as Bella defies the roles traditionally assigned to her gender in Victorian society. She isn’t content to be a passive object of male desire or societal control; instead, she pursues her desires unapologetically. This narrative choice provides the film with a unique blend of Gothic horror and feminist awakening, making Bella’s arc not just one of personal discovery but a rebellion against societal expectations.

The film cleverly uses Bella’s reanimation as a metaphor for the reclamation of female agency. Her existence questions the boundaries society places on women’s choices and the freedom to explore one’s desires without constraint. This theme of rebellion and independence resonates throughout the film, making it a potent and thought-provoking critique of both past and present gender politics.

True to Lanthimos’s style, Poor Things is replete with dark humor that offsets its unsettling moments, creating a balance between horror and comedy. The film’s humor is not the light-hearted kind but rather a grotesque, often uncomfortable type that makes the viewer question whether to laugh or cringe. This strange tone is reinforced through surreal dialogue and deadpan delivery, both of which Stone and the cast execute masterfully.

The comedic elements, however, do not detract from the story’s darker, existential undertones. Instead, they amplify the absurdity of the situations Bella encounters and, by extension, critique societal norms. Lanthimos uses humor as a way to highlight the absurd constraints society imposes on individuals, particularly women. This contrast between horror and humor keeps the film unpredictable and engaging, inviting audiences to consider profound themes without taking themselves—or the film—too seriously.

Poor Things is not for the faint of heart, nor for those looking for a conventional narrative. It’s a film that defies categorization, blending horror, humor, and social commentary into an experience that’s equal parts disturbing and enlightening. Lanthimos’s direction, coupled with Stone’s remarkable performance, crafts a story that is fearless in its exploration of identity and societal norms. Bella Baxter’s journey is a testament to human resilience, curiosity, and the unyielding desire to define oneself outside of imposed constraints.

The film’s eccentric style and dark humor might not appeal to everyone, but for those willing to embrace its bizarre beauty, Poor Things offers a unique and impactful experience. Lanthimos has created a story that lingers long after the credits roll, forcing audiences to confront uncomfortable questions about freedom, identity, and autonomy.