Movie review • Poor things by Yorgos Lanthimos: A Quiet Pulse of a Reborn Heart

Through stark contrasts between Dr. Baxter’s steampunk laboratory and the expansive, organic world beyond, Poor Things delves into the clash between scientific control and natural freedom. Bella’s journey, both personal and philosophical, unfolds in a beautifully constructed world that reflects the film’s deeper questions of life, autonomy, and self-realization. 

    A visually stunning and thematically profound work that exemplifies the director’s innovative approach to narrative and visual artistry. Based on Alasdair Gray’s novel, the film follows the story of Bella Baxter, a woman brought back to life by the unconventional scientist Dr. Godwin Baxter. This intriguing premise enables Lanthimos to explore deep themes related to existence, mortality, freedom, and self-identity, all while situating the narrative within a uniquely stylized universe that is both recognizable and surreal.

The narrative structure of Poor Things is predominantly linear, yet it is imbued with multiple thematic dimensions. Central to the film is Bella’s pursuit of independence. Her body, initially manipulated and altered by Baxter, serves as the arena for her assertion of self. As she interacts with various male characters, each embodying distinct forms of authority or desire, she progressively reclaims agency over her existence. This odyssey is not merely personal; it also engages with philosophical inquiries regarding the essence of humanity and the degree to which our identities are influenced by external forces. The film's exploration of gender and power relations is particularly striking, as Bella’s experiences reflect wider societal battles for autonomy and equality.

The film's visual and thematic richness is further illustrated through its set design and costumes. Baxter’s laboratory is portrayed as a disordered, steampunk-inspired environment filled with esoteric scientific instruments, symbolizing the invasive and experimental nature of his interventions on Bella. Conversely, the external world is characterized by elaborate Victorian architecture that conveys both grandeur and confinement. This contrast between the stifling interiors and the vast exteriors parallels Bella’s transformation from subjugation to liberation. The progression of Bella’s attire accentuates this metamorphosis; she starts the film in restrictive, modest garments, but as she attains greater independence, her clothing evolves to become more expressive and fluid, reflecting her burgeoning self-identity.

Lanthimos’s narrative technique, characterized by its fusion of surrealism and satire, introduces a significant layer of intricacy to the storyline. The film's dialogue, while frequently stylized and at times appearing unnatural, underscores the artificiality of Bella’s environment and the imposed limitations surrounding her. This elevated, almost theatrical style of dialogue aligns with Lanthimos’s overarching cinematic approach, where the distinctions between reality and fantasy frequently become indistinct. Such a method enables Poor Things to navigate seamlessly through instances of dark humor, philosophical exploration, and emotional depth without appearing fragmented.

The cinematography, led by Robbie Ryan, is a remarkable aspect that vividly animates the peculiar world of Poor Things. The imagery possesses a vibrant, painterly quality, distinguished by bold color schemes that adapt to the emotional and thematic nuances of each scene. The cooler tones of blue and gray dominate the more sterile and unsettling sequences, particularly within Baxter’s laboratory, which is replete with bizarre, steampunk-inspired apparatuses utilized in Bella’s resurrection. Conversely, as Bella explores the outside world, warmer and more vivid hues emerge, symbolizing her path of self-exploration and the awakening of her innermost desires.

A significant feature of the cinematography is the employment of wide-angle lenses and symmetrical framing. These artistic choices cultivate a pronounced sense of artificiality and otherworldliness, underscoring the notion that Bella’s environment is constructed by both scientific endeavors and societal norms. Frequently, characters are positioned centrally within the frame, isolated from their surroundings, which accentuates the conflict between their personal aspirations and societal expectations. The use of expansive shots particularly highlights the grandeur and theatricality of Bella’s journey, contrasting with the intimate close-ups that capture moments of emotional depth. These visual strategies not only establish a unique aesthetic but also enrich the narrative by immersing the audience in Bella’s transformative experience.

Sound is integral to establishing the film's overall tone. The sound design fluctuates between precise, mechanical sounds and softer, atmospheric qualities, crafting an auditory environment that reflects the dichotomy between Baxter’s scientific domain and the more natural settings that Bella encounters. Within the laboratory, the clinking of glass, the whir of machinery, and the hissing of steam underscore the artificiality of Bella’s resurrection, emphasizing the scientific and constructed nature of her being. Beyond these sterile surroundings, the soundscape expands to incorporate more organic elements such as the rustling of wind, footsteps, and distant urban sounds, symbolizing Bella’s increasing autonomy as she explores the external world.

The film’s score, created by Jerskin Fendrix, enhances the emotional and thematic richness of the narrative. It transitions seamlessly between grand, operatic segments during Bella’s moments of revelation and softer, more poignant melodies that highlight her internal conflicts. The score complements the narrative without overshadowing it, working alongside the visuals to evoke feelings of wonder, dread, or contemplation at pivotal moments. Importantly, the instances of silence—where sound is intentionally omitted—carry significant weight, providing opportunities for reflection that mark Bella’s path toward self-discovery.

Poor Things is a film that meticulously balances its narrative and aesthetic components. The cinematography, sound design, and narrative framework collaborate effectively to construct a visually captivating and thematically rich universe. Bella's quest for self-discovery and independence is depicted in a way that combines surrealism and authenticity, allowing the audience to connect emotionally and intellectually with the film. Lanthimos’s skill in creating a film that feels both rooted in human experience and liberated from the constraints of reality distinguishes Poor Things within the realm of contemporary cinema. Through its distinctive amalgamation of visual creativity, auditory elements, and narrative complexity, the film presents a thought-provoking examination of existence, identity, and freedom.