[EXPRESSO] Poor Things (2023) | Lanthimos’ Frankenhooker

Yorghos Lanthimos’ latest movie, Poor Things, based on the novel of the same name by Alasdair Grayand (and presented during last year’s Venice Film Festival) has finally hit theathers here, and i’m overjoyed to say this might be my favourite film of his, and honestly even better than the previous one, The Favourite (har har), despite being very different.

As in this is Lanthimos basically reinventing Bride Of Frankenstein but as a modern progressive dramedy about the sexual liberation of the “Creature”, in this case Bella Baxter (Emma Stone), a woman resurrected through an unthordox experiment by the scarred and controversial scientist, Godwin Baxter (William Dafoe), whom hires a medical student to look after and document her learning process, as she has the mind of a child. As she gains more lexicon, more concepts and start seeing more of anything outside of Godwin’s house/laboratory, she eventually wants out and escapes with a suave and dissoluted lawyer, Duncan Webberburn (Mark Ruffallo), on a trip around the world.

A very odd world, because (aside from some of Godwin’s spliced animals that feel Burtonesque at a glance) this isn’t another hystorical setting, as the time period looks like it’s straight out Frankenstein (with many initial black-n-white sequences reinforcing that feeling), with horse-drawn carriages, the circular study halls to observe the autopsies, the overall fashion, but it’s also a very overlysatured retro-futuristic – almost steampunk- world.

Most importantly, it’s another amazing display of Lanthimos ability with comedy, brutal, relentless comedy, especially about sex more than horror as you might think, demonstrating any lack of restrain but alway a lot of wit to sell the absolute farce of these increansingly weirder situations, while knowing perfectly where to the let the drama of Bella’s situation sink in, all with fantastic performances by the stellar cast.

Terrific.

[EXPRESSO] EO (2022) | Wanderdonk

Clearly inspired by Robert Bresson’s Au Hasard Balthazar, this 2022 polish movie follows the life of donkey that, after escaping from a polish circus sets on a “picaresque” journey through Europe, witnessing various realities of modern european countries along its aimless wander.

And intriguingly enough here it’s in theathers, limited release but not that fleeting, it stuck around more than Guillermo Del Toro’s Pinocchio, so that’s nice.

As expected the titular donkey and his accidental European trip is a device to depict various episodes of humanity and its often unsavoury sides, sampled through many various vignettes, going from Eo joining a farm with other mules to being used as a scapegoat by violently murderous football fanatics, being rescued by robot dogs, used as workforce in an illegal fur farm, and so on…

So the donkey himself isn’t the focus of the narration, makes sense but since we’ve seen this type of film done before, EO it’s kinda disappointing because it straddles between committing to fully characterize the animal protagonist (even indirectly) or fully utilizing his role as a narrative tool to eviscerate humanity’s many, many facets.

I’d prefered it “went harder” in many ways, because the execution often made me wish the movie would committ to show more small, gritty or unflinchingly realistic stories, or to contextualize more the ones shown. That and while it’s sincere, at times i felt it was a bit too enamored with being artsy for its own sake, and again, the final result feels compromised and hence it never properly achieves the emotional potency it clearly wishes for.

It’s not a long watch, it does have some very effective moments, i was intrigued all the way and i would recommend watching if you can, but i won’t deny i also felt kinda disappointed by it.