Directed by Yorgos Lanthimos, Kinds of Kindness (2024) is a dark, unsettling, darkly funny anthology film that reunites him with Emma Stone after Poor Things. If you’re expecting a conventional narrative, turn back now. This is Lanthimos operating in full “uncomfortable brilliance” mode.
The film is structured as three loosely connected stories, performed by the same ensemble cast in different roles. Themes of control, devotion, identity, and blind faith run through each chapter like a quiet threat.
Detailed Summary
Part I: “The Death of R.M.F.” – Obedience as a Lifestyle
The first story centers on Robert (Jesse Plemons), a man whose entire life is dictated by his boss Raymond (Willem Dafoe). Raymond decides everything: what Robert eats, who he marries, even when he has sex. It’s less employment and more psychological ownership.
Robert’s identity is completely dependent on pleasing Raymond. When Raymond gives him a morally impossible task involving a fatal car accident, Robert hesitates for the first time. That hesitation costs him everything. He is cut off, exiled from the structured world he has known. The story spirals into desperation as Robert attempts to regain approval in increasingly disturbing ways.
The tone is clinical and absurd, yet deeply tragic. The key tension: what happens when your entire personality belongs to someone else?
Part II: “R.M.F. Is Flying” – Love, Doubt, and Replacement
In the second segment, Plemons plays a police officer whose wife (Emma Stone) disappears at sea and is later rescued. When she returns, something feels off. She looks the same. She sounds the same. But to him, she is not the same.
Paranoia escalates. He becomes convinced she has been replaced by an imposter. His suspicions grow irrational, yet the film refuses to clarify whether he’s wrong. He begins imposing disturbing “tests” of love and authenticity on her.
The emotional cruelty intensifies. Stone’s performance balances fragility and ambiguity, keeping the audience uncertain. Is she different? Or is his love so fragile that it collapses under trauma?
This chapter examines control through intimacy—how love can morph into possession.
Part III: “R.M.F. Eats a Sandwich” – Cults and the Search for Miracles
The final story shifts into cult territory. Stone and Plemons play members of a secretive spiritual group led by Dafoe. The cult seeks a woman with the power to raise the dead. Devotion is total. Sexual and emotional boundaries blur. Loyalty is constantly tested.
The pair are sent out to find this “chosen one,” but doubt creeps in. The cult’s rules are rigid, yet arbitrary. Expulsion is swift and humiliating. The search for a miracle becomes a descent into psychological dependency and ritual humiliation.
This final chapter pushes the themes of faith and submission to their most surreal extremes.
Movie Ending
In the final chapter, the search for the prophesied miracle worker reaches a devastating climax. Stone’s character begins to suspect that the cult’s doctrine is hollow, that their leader may simply be orchestrating power through manipulation. However, she remains emotionally tethered to the belief system.
When they finally encounter a woman who appears capable of resurrecting the dead, the moment is ambiguous and deeply unsettling. A resurrection attempt unfolds in a way that suggests something miraculous may have happened—but Lanthimos deliberately refuses clarity. The miracle is neither fully confirmed nor completely denied.
The final scenes imply that devotion itself—not the miracle—is the real object of worship. Characters either double down on belief or collapse under disillusionment. There is no clean liberation arc. Instead, the ending leaves us with a haunting idea: people may prefer submission to uncertainty.
The film closes in a way that mirrors its opening chapter—someone is always in control, someone is always surrendering. The cycle continues. It is bleak, ironic, and darkly funny.
Are There Post-Credits Scenes?
No. Kinds of Kindness does not feature a mid-credits or post-credits scene. Once the credits roll, the experience is complete—emotionally and thematically.
Type of Movie
This is a psychological dark comedy anthology that blends absurdism, drama, and surreal satire. It operates in the same tonal universe as Lanthimos’ earlier work—deadpan performances, rigid emotional detachment, and morally uncomfortable scenarios.
Cast
- Emma Stone as Rita, Liz, Emily
- Jesse Plemons as Robert, Daniel, Andrew
- Willem Dafoe as Raymond, George, Omi
- Margaret Qualley as Vivian, Martha, Ruth & Rebecca
- Hong Chau as Sarah, Sharon, Aka
- Joe Alwyn as Collectibles Appraise Man 1, Jerry, Joseph
Film Music and Composer
The score was composed by Jerskin Fendrix, who also collaborated with Lanthimos on Poor Things (2023). The music is minimal, eerie, and often intentionally disorienting. Silence is used strategically, amplifying discomfort and emotional distance.
Filming Locations
The film was primarily shot in New Orleans, Louisiana. The city’s humid atmosphere and quiet suburban architecture create an eerie normalcy that contrasts sharply with the characters’ psychological breakdowns. The grounded American setting makes the absurdity feel even more unsettling.
Awards and Nominations
The film premiered at the Cannes Film Festival in 2024, where Jesse Plemons won the Best Actor Award for his multi-role performance. The film received strong critical discussion for its performances and writing, though it divided audiences.
Behind the Scenes Insights
- Lanthimos co-wrote the screenplay again with long-time collaborator Efthimis Filippou.
- Jesse Plemons reportedly found switching psychological states between the three roles mentally exhausting.
- The actors rehearsed extensively to perfect Lanthimos’ signature emotionally flat delivery style.
- The film was shot relatively quickly compared to Poor Things, giving it a more stripped-down visual aesthetic.
Inspirations and References
While not based on a single source, the film echoes themes from:
- Absurdist theatre, especially Beckett-style existentialism
- Cult psychology studies
- Lanthimos’ own earlier films like The Lobster and Dogtooth
It feels like a thematic continuation of his obsession with systems of control.
Alternate Endings and Deleted Scenes
There are no publicly confirmed alternate endings. However, interviews suggest certain scenes in the third chapter were trimmed to maintain ambiguity around the resurrection sequence. Lanthimos reportedly preferred leaving the miracle unresolved rather than offering a definitive supernatural explanation.
Book Adaptations and Differences
The film is not based on a book. It is an original screenplay by Lanthimos and Filippou.
Memorable Scenes and Quotes
Key Scenes
- Robert negotiating the terms of his own life with Raymond at a dinner table
- The husband demanding increasingly disturbing proof from his returned wife
- The cult’s ritualized purification ceremonies
- The ambiguous resurrection moment in the final chapter
Iconic Quotes
The dialogue is deliberately understated, but lines about obedience and devotion carry chilling weight, particularly Raymond’s calm instructions to Robert about how to live his life. The casual tone makes the control feel even more terrifying.
Easter Eggs and Hidden Details
- The recurring “R.M.F.” initials subtly connect all three stories.
- Characters repeatedly surrender personal agency in exchange for structure.
- Food and eating rituals symbolize control and acceptance.
- Mirroring blocking and symmetrical framing reflect emotional imprisonment.
Trivia
- Jesse Plemons won Best Actor at Cannes for playing three distinct characters.
- Emma Stone also served as a producer.
- The title was changed late in production from AND to Kinds of Kindness.
- Lanthimos returned to a smaller-scale production style after the elaborate sets of Poor Things.
Why Watch?
If you appreciate films that challenge comfort rather than provide it, this is essential viewing. The performances are razor-sharp, and the anthology structure keeps the narrative unpredictable. It’s the kind of movie that lingers uncomfortably in your mind for days.
Director’s Other Works
Other films by Yorgos Lanthimos include:
- Dogtooth (2009)
- The Lobster (2015)
- The Killing of a Sacred Deer (2017)
- The Favourite (2018)
- Poor Things (2023)
Recommended Films for Fans
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