Well this is… sprawling. Typically confusing and mysterious as it begins, but boy is it beautiful. Robert (Jesse Plemons) is meticulous, wealthy, anxious… about something. Something making him sad and reflective. His boss, Raymond (Willem Dafoe) is overbearing, controlling. Ridiculously so. Their’s is a world of high-rise offices, expensive suits, clean modern living. Their relationship is uncomfortable. Raymond has an unusual task for Robert, one that he’s very insistent on, putting Robert in an absurd situation. Absurd is a good word for this. And both Plemons and Dafoe are perfect for its delivery. Both masters of understated menace, this packs a real charge as we find that this is only the latest request in a series that has shaped Roberts life, a life that’s about to take a dramatic turn. Dark and stark, it’s captivating as Robert tries to unravel his maddening desperation, that leads him to Rita (Emma Stone). Honestly it’s rather brilliant and I’d like to delve in further, but after barely an hour, it’s over.
That’s because this is the first part of a tryptic of stories. I won’t lie, it feels jarring. Just as you’re immersed into one world, you’re ripped out of it and thrust into another. In the next more Cronenbergian universe Plemons is a cop. His recently missing wife (Stone) returns, but something isn’t right. The themes of dark awkwardness continue as the dissonant piano stabs in the background. It’s intriguing as Plemons’ world once again unravels and it certainly has some arresting moments, but the story isn’t as gripping, although it’s certainly more gory… and dogs really should be in charge.
The third jump doesn’t feel as disorientating, but make no mistake, it’s no less bizarre. Stone and Plemons (got a nice ring to it) are looking for someone special. They are Emily and Andrew, part of cult like commune, obsessed with sex and water, headed by Omi (Dafoe). Emily is torn though between this life tearing around in a Dodge Charger on a mission and her old one, with her family. When things go wrong, as they inevitably do in all these stories, she’s desperate to complete the mission and make things right… if indeed her perception of right, is right. There’s very little that tangibly holds these three stories together. I’m sure I could rationalise it in some way through the mysterious RMF character (Yorgos Stefanskos), but this really is something you need to make your own mind up about. This isn’t Lanthimos’ best film by any stretch, but it’s better than many reviews give it credit and well worth a watch if you like stylishly confusing films, beautifully shot and wonderfully acted.
7/10
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