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Yorgos Lanthimos' "Kinds of Kindness" Divides Critics: A Familiar Yet Frustrating Experience

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  Published in Humor and Quirks on Sunday, December 28th 2025 at 1:00 GMT by Seattle Times

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A Bleakly Funny Descent: "Kinds of Kindness" Offers a Familiar Yet Frustrating Lanthimos Experience

Yorgos Lanthimos, the Greek director known for unsettling brilliance in films like “The Lobster,” “The Favourite,” and “Poor Things,” returns with "Kinds of Kindness," a triptych narrative that continues his exploration of societal absurdities, control mechanisms, and human behavior stripped bare. While the Seattle Times review by Ben Lovett acknowledges the film’s undeniable stylistic flourishes and moments of dark humor, it ultimately finds the experience frustratingly uneven – a familiar echo of Lanthimos' strengths and weaknesses amplified in this latest offering.

"Kinds of Kindness," presented at Cannes where it competed for the Palme d'Or (and ultimately didn't win), is structured as three interconnected vignettes featuring Emma Stone as Wendy, a woman seemingly trapped within a system designed to "cure" her anxieties and enforce conformity. The film’s promotional material described it as “an absurdist comedy of manners,” a description that aligns with Lanthimos’ established aesthetic. However, the review highlights how these segments, while individually intriguing, struggle to coalesce into a satisfying whole.

The first segment, titled "Morning," depicts Wendy under the care of two therapists (played by Jesse Plemons and Hong Chau) who administer increasingly bizarre treatments aimed at alleviating her anxieties. This section establishes the film’s tone: unsettlingly clinical, darkly humorous, and deeply critical of therapeutic practices that prioritize control over genuine healing. Lovett notes the effectiveness of this initial segment in setting up the central themes of manipulation and the fragility of individual agency. The performances are strong, particularly Stone's portrayal of a woman struggling to maintain her sense of self under constant scrutiny.

The second segment, "Big Country," shifts gears dramatically, placing Wendy in a bizarre, almost Western-style scenario involving a missing politician’s child and a group of heavily armed men. This section is described as the most perplexing and least successful of the three. While it attempts to explore themes of masculinity, power dynamics, and societal expectations through its exaggerated characters and heightened reality, it feels disjointed from the preceding segment and lacks the sharp satirical edge that characterizes Lanthimos’ best work. The review suggests this section veers into territory that is more bizarre than insightful, sacrificing clarity for shock value.

Finally, "Helpless" sees Wendy in a new role, seemingly as an enforcer within a strange bureaucratic system. This segment attempts to tie the previous two together, revealing connections and hinting at a larger conspiracy. However, Lovett finds this final act convoluted and ultimately unsatisfying, feeling like a rushed attempt to provide closure that doesn't quite land. The film’s ending is described as ambiguous, but not in a thought-provoking way; rather, it feels abrupt and leaves the viewer with more questions than answers.

Throughout "Kinds of Kindness," Lanthimos maintains his signature visual style: wide-angle lenses, unsettling compositions, and a detached, almost clinical perspective on human behavior. The film’s production design is meticulously crafted to create an atmosphere of sterile artificiality, reinforcing the sense that Wendy (and by extension, all the characters) are trapped within a manufactured reality. The soundtrack contributes significantly to the film's unsettling mood, employing discordant sounds and repetitive musical motifs.

However, the review argues that while these stylistic elements remain impressive, they can’t compensate for the narrative shortcomings. Lanthimos’ previous films often excelled at creating a cohesive world governed by its own internal logic, even if that logic was bizarre or disturbing. "Kinds of Kindness," however, feels fragmented and less unified. The connections between the segments are tenuous, and the overarching themes feel muddled rather than clarified.

Lovett draws parallels to Lanthimos’ earlier work, noting that “Kinds of Kindness” shares thematic DNA with “The Lobster,” which explored societal pressure to conform through a dystopian dating system. However, while "The Lobster" felt tightly controlled and darkly comedic, "Kinds of Kindness" feels sprawling and unfocused. Similarly, the film echoes elements of "Poor Things," particularly in its exploration of female agency and rebellion against patriarchal structures. Yet, it lacks the joyous liberation and visual inventiveness that made “Poor Things” such a critical darling.

Ultimately, the Seattle Times review concludes that "Kinds of Kindness" is a visually striking but narratively flawed film. It’s a testament to Lanthimos' undeniable talent as a filmmaker, but also a reminder that his distinctive style can sometimes overshadow substance. While fans of his previous work will likely find moments to appreciate, those seeking a cohesive and satisfying narrative experience may be left feeling disappointed by this sprawling, uneven triptych. The film’s ambition is evident, but its execution falls short of Lanthimos' usual high standards, leaving the viewer with a sense of frustration rather than profound insight. It’s a bleakly funny descent into absurdity, but one that doesn’t quite reach the depths it promises.

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