Premiering at Venice and Telluride, Yorgos Lanthimos' 'Poor Things' and Pablo Larraín's 'El Conde' find their filmmakers revisiting old terrain with rewarding results.
erotic drama, Lanthimos’ movie offers bracing assurance that grown-up sexuality — though whether the wide-eyed woman-child Bella can be regarded as a consenting adult is one of the story’s thornier mysteries — has not yet been banished from the cinema screen. But there is more than prurience or even provocation at work here.
Bella’s sexual liberation becomes a moral awakening of sorts, and Stone, having committed fully to the character’s often-maniacal sense of mischief, brings equal conviction to her sudden wellsprings of compassion. Unlike the conniving courtier Stone played in “The Favourite,” Bella doesn’t have a calculating bone in her body; she’s all reckless id, a purely instinctual creature.
I’m only half-joking when I suggest that “Poor Things” would make an intriguing double bill with Greta Gerwig’sanother movie about a woman — a construct — who travels to distant realms, unravels the lie of her own existence and returns home to handily dismantle the patriarchy. You can imagine the Pygmalion myth resonating with Lanthimos, and not just because he’s Greek.
The initial answers provide no shortage of grim amusement, especially when a young Pinochet witnesses the French Revolution and proceeds to learn all the wrong lessons from it . For a while the story’s ambitious mix of comedy and horror is held together by an elegant, unctuous narrator whose identity I won’t spoil here; suffice to say that it gives this playfully ludicrous story its political bite.
The casting of one of history’s greatest monsters as a literal blood-sucking monster is such an ingenious premise, you almost can’t blame Larraín for leaning on it so heavily. To some extent, he has made a throwback to his supremely bleak dramas about the Pinochet era, “Tony Manero” and “Post Mortem,” which made his reputation before his swerve into starry English-language biopics like
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