It is labelled a triptych, which is a piece of art consisting of three pieces.
In this case, it is three stories containing many of the same actors, linked by a minor character name.
The first is called The Death of RMF, the second RMF is flying and the third RMF Eats a Sandwich.
Hardly compelling you might think, but you haven’t taken account of the “X factor”.
That is the vivid imaginations of writer/director Yorgos Lanthimos and his frequent collaborator, co-writer Efthimis Filippou (The Killing of a Sacred Deer, The Lobster).
As before, Kinds of Kindness is bizarre – a head spinner.
RMF is named such after the moniker stitched onto the pocket of his white shirt.
In the first episode, RMF enters a house and collects a wad of cash from the young wife/partner of a highly detailed control freak.
What the money is for becomes clear as the chapter unfolds.
Suffice to say, The Death of RMF concerns a loyal employee of the control freak who says “no” to his boss’ latest request.
The fallout is severe. The employee struggles to cope and becomes increasingly desperate and duplicitous.
In RMF is flying, a policeman is freaking out after his wife goes missing at sea.
When, against the odds, she is rescued he is convinced (RMF plays the helicopter pilot bringing her home) that she is in fact an imposter.
He goes on a hunger strike and begins to test her with truly outlandish requests.
The third tranche involves a woman determined to find a person with the special ability to breathe life into the dead.
Having left her husband and daughter, she appears to be on a spiritual journey with a cult.
RMF plays a cadaver.
Among the threads running through Kinds of Kindness are intimidation, violence and sex.
Faith, trust, authority, power and control are in focus.
Given the material being presented, I was also acutely aware of discordant piano music, which was a most effective device.
The acting talent assembled is top shelf, with Jesse Plemons, Willem Dafoe, Emma Stone, Margaret Qualley, Hong Chau and Joe Alwyn leading the charge.
They assume different personas in the divergent stories and do so with conviction.
The expressive nature of their characterisations brings us closer to the action.
I was particularly sold on the intensity of Plemons and Stone.
In short, I was intrigued by each unfolding tale, never sure where it was heading or what was about to happen next.
Frankly, any of the three could have been extended into a movie of its own, but clearly that is not the direction the filmmakers chose to take.
Each chapter introduces twists and turns aplenty.
Yorgos Lanthimos and Efthimis Filippou’s unique sensibilities (their insights into the human condition) continue to make their output eminently watchable … for some.
The obtuse nature of the product means it won’t be everyone’s cup of tea.
Rated MA, it scores and 8 out of 10.
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