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Poor Things, A Yorgos Lanthimos’ Film

‘’Poor Things’’, the new film by Yorgos Lanthimos, whose acting team is made up of the legendary Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, and Jerrod Carmichael, was finally released in cinemas around the world on January 25th.                                                                               Let's face it, we were all waiting for it with trepidation, and the world has already divided into two factions: those who say it is an extraordinary work, the director's undisputed best film, and those who think it is a hymn to macho and patriarchal culture... but where does the truth lie?

Emma Stone and Mark Ruffalo

(Emma Stone and Mark Ruffalo in Poor Things. Photograph: Atsushi Nishijima/AP)

It traces all of Lanthimos' cinema, but also adds a lot that is new. It is the incredible story of Bella, an all-female Frankenstein who after throwing herself from a bridge in Victorian London, is revived by a mad scientist she has the mind of a child in the body of an adult, and she grows quickly, she learns new things about the world around her but above all about herself, what she likes, what she doesn't like and she is not affected by social conditioning, and when a slimy notary promises her unbridled happiness and adventures to remember, Bella frees herself from the muffled prison of her home and begins to experience the world, teaching us the importance of freedom, emancipation and independence.

But what makes this film a Lanthimos film? The director is ravenous and greedy, he devours everything around him, leaving no leftovers for anyone, he is a scientist who studies human behavior with an almost maniacal precision, he investigates nature, desire, the crudeness of life, human wickedness more hidden, it forces us to look in the mirror to show us our true essence.                                                                                                       

In this film, there's all this, but there is also more, never seen before in his filmography: everything is deformed, curved, expanded, there are fish eye effects pulled to the maximum, everything is so dilated that it seems like a ravine to fall into. but contrary to what happened in the Greek director's previous films, where both physical and moral paralysis was the element that most characterized the characters, here it is joy, awareness, self-confidence, and movement... certainly an atypical case in the director's filmography, where the protagonist claims possession of her own body and the right to exist in the way she deems most adequate and suitable, a feminist like Barbie.

/Guendalina Porta

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