Poor Things

‘’We must experience everything. Not just the good, but degradation, horror, sadness. This makes us whole, Bella. It makes us people of substance. Not flighty, untouched children. Then we can know the world. And when we know the world, the world is ours.’’

This is one of the quotes uttered by the protagonist of the film “Poor Things,” directed by Yorgos Lanthimos and released in cinemas in January 2024. Inspired by the homonymous novel written by Alasdair Gray, “Poor Things” can be considered a postmodern revision of Frankenstein It replaces the classic monster with Bella Baxter, a woman who committed suicide and was then brought back to life thanks to a brain transplant of the child she was carrying at the time of her death. Defined as a hilarious political allegory; a raw and self-deprecating portrait of society and its contradictions, of human desires and their most animalistic instincts; between patriarchal visions of society, female independence, and sexual awakening. “Poor Things” is nothing more than a visual bildungsroman depicting the growth and development of a woman who navigates in a society strongly dominated by sharp moral judgments, which chases her being in a continuous process of self-determination and affirmation. 

What is particularly striking is how Lanthimos pushes interpersonal relationships to their extreme; boiling down individuals to their inner desires, bodies, and smells. 

In short, Bella Baxter represents what is a child’s vision of society and its contradictions, far from its conventions and norms. The result is a true portrait of the development of post-enlightenment philosophical thought: from the Scientific Revolution's rationalism to the emotional liberation of Romanticism, transcendentalism, Marxism, and, finally, the Absurdist acceptance of the flawed yet fulfilling lives we lead. By transcending the boundaries of conventional storytelling and delving into philosophical inquiries that challenge the audience's perception of morality, identity, and societal constructs, Lanthimos presents a compelling exploration of the nature of humanity and consciousness. Central to the philosophical underpinnings of "Poor Things" is the concept of agency and autonomy. Upon her revival, Bella navigates a world where her agency is both constrained and manipulated by the forces around her, particularly by Dr. Baxter. Her journey prompts viewers to reflect on the nature of free will and the extent to which external influences govern individuals. Through Bella's struggles and choices, Lanthimos invites audiences to ponder the complexities of human autonomy and the ethical responsibilities that come with wielding power over others. Moreover, "Poor Things" offers a trenchant critique of societal norms and structures. Lanthimos uses the absurdity of Bella's situation to satirize the conventions of Victorian society, exposing the hypocrisy and moral bankruptcy that underpin its facades. Through the characters' interactions and the absurd situations they find themselves in, the film invites viewers to question the arbitrary rules and hierarchies that govern society and consider alternative modes of existence.

Furthermore, the film engages with philosophical themes of identity and selfhood. Bella's resurrection results in a fragmented sense of self, as she grapples with memories and experiences that may not entirely belong to her. This exploration of identity raises profound questions about the stability of the self and the extent to which external influences shape it. Lanthimos challenges viewers to interrogate their own sense of identity and consider the fluidity of the self in the face of external forces.

In addition to its thematic richness, "Poor Things" is characterized by Lanthimos's distinct visual style and narrative approach. The film's deadpan humor and surreal imagery create an atmosphere that is both disconcerting and captivating, drawing viewers into its philosophical inquiries through unconventional means. Lanthimos's masterful direction imbues every frame with symbolic resonance, inviting audiences to decipher the deeper layers of meaning beneath the surface.

And, to conclude, according to Lanthimos, we are all changeable, facing the overwhelming struggle to live under precise norms and customs. And at the same time, we are all poor things. This consciousness can break us or, on the contrary, evoke a sense of empathy for humanity, leading us to dance in an uncoordinated and childish way like Bella Baxter in a Victorian dining room.

“I am a changeable feast, as are all of us.”