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You wouldn’t be wrong in watching POOR THINGS and thinking it asks the same question as another mega film from this year. And that question is “what was I made for?” Here however this question is answered through its own adventure and one that is as grandiose as they come. Yorgos Lanthimos’ POOR THINGS is an odyssey of feminism, scientific exploration and above all else self pleasure in every form. It’s a film that discovers how to touch itself and become so in tune with its own body that it refuses to allow any lesser form of satisfaction. The film written by Tony McNamara (adapted from Alasdair Gray’s novel of the same name) is a steampunk Frankenstein retelling with a shakeup that allows for its lead creation Bella Baxter (Emma Stone in a performance of a lifetime) to fly far from the consoles of her laboratory table where she was molded. Instead Baxter learns every reality of the world but unlike Frankenstein’s monster refuses to allow the pitchfork wielding villagers to bring her down. In this case however the “villagers” are the on slew of men that want to control, reshape and eventually try to destroy her. Bella much like her film has greater things on her mind and this newfound world is only the beginning.

In order for Bella to live she must die. Before she was Bella, a creature made by the disfigured scientist Dr. Godwin Baxter (Willem Dafoe), she was Victoria. A woman who killed herself by jumping off a bridge. Dr. Baxter, a man fascinated with the human anatomy and reconfiguration, brings Victoria back (now Bella) by placing Victoria’s unborn child’s brain into the full grown body of Victoria. Bella may be an adult who looks like Emma Stone but she is merely an infant who finds pleasure in playing with her food, imitating the hybrid animals of the house and observing her father (who she calls God) in his lab. Bella is a quick learner and full of curiosity but her temper grows Dr. Baxter tired. From early on it is clear Bella is not someone who can be controlled even with her male creator’s attempts to keep her locked inside forever. Stone as Bella, well there could be a whole book written on her performance. But for starters it is clear that Stone has completely given herself over to the role in a way that is rarely seen today. Gone is any notion of trying to methodically understand Bella, no she is just her plain and simple. What the role requires Stone commits to. Early segments may be displayed in Romantic era black and white and this allows for Stone’s wide doe eyes to be locked in on everything in front of her (that is until the film shifts to color and her bright blue eyes wander to every corner of the screen). Stone as Bella doesn’t walk she waddles like the family duck, she stumbles through her words but learns with each correction. She may be taken lessons from her father but she always makes it her own and on her time. But even with all her fast learning nothing can be fully accomplishment inside the house. But if the literature which the film is so heavily inspired from has showed us anything it is that men are terrified of a well versed educated woman. All the more reason for Baxter to want to marry off Bella to one of his students Max McCandles (Ramy Youssef giving his best boyish charm). But even with her acceptance of Max’s proposal this is already Bella’s world and to be married is to be confined and Bella is not ready for that. Not until she can explore the world, do her own research and sleep with whomever she wants.

Unfortunately Bella’s choice of a sexual partner is the sleazy lawyer Duncan Wedderbum (Mark Ruffalo being a total buffoon). Duncan fascinated by Bell promises to bring her to new parts of the world where she can discover, but most importantly fuck at the drop of a dime. Lanthimos’ film may be riddled with prolonged sex scenes but thankfully they never consider the prudish audience member and instead allow the scenes to flow with the notion that Bella truly has found something she is good at and enjoys. Why should we or anyone else take that away from her. Her desire for sex may stem from the recent discovery of it but POOR THINGS isn’t a film that wants to question Bella. It believes in her and wants her to make her own choices as Bella continues to show her intentions are for both herself and goodness of people.

This is what makes it all the harder when Bella learns the world and especially the world of men is far from kind. Nothing too unique on the surface but Bella is an intellect that while new to the world is able to formulate sentences and thoughts far beyond her primitive male counterparts. The film is a hilarious takedown of men who claim overt masculinity but breakdown at any sign of independence from a woman. She mocks all of Duncan’s limitations which includes his need to take a break to recharge after sex (especially when she’s more than ready) as well as his inability to obtain money when she has found a much more resourceful way that involves rearranging the methodology of a Paris brothel.

Taking in the world for the first time is an overwhelming endeavor and the film on a technical level is fascinating. Especially when it comes to creating the world that Bella is so curious about. POOR THINGS is the kind of film that is playing on a level where every facet of production is bewildering. Robbie Ryan’s cinematography may draw inspirations from the days of Mary Shelley and Bram Stoker but here is a brighter and colorful world driven by the steampunk era that would make any Bioshock player happy. Seriously when Bella finds herself trapped at sea you half expect a Big Daddy to come crashing through with its heavy drill. And while the notion of many’s favorite video game coming to life POOR THINGS is more interested than just being the heavy metal version of industrialization. One look at Holly Waddington’s costume designs will leave you laughing at anything Paris fashion week thinks it has in store. No here we are given true outlandish costumes that Bella waddles in like a first time runway model. But much like everything she does she wears them with confidence and rebellion. These outfits don’t confine her but instead give her comfortable as well as easy access to any part of her body she desires at the moment. Jerskin Fendrix may be an artist known better around the Brixton pub scene but here his music flows through like it is hitting test tubes and beakers along the way screeching and bopping along that you can’t help (much like Bella) but dance yourself. All these elements carry Bella along her journeys that includes meeting a true cynic (Jerrod Carmichael), and several prostitutes that become her first real female companions.

An odyssey usually means the lead character finding their way home or in this case back home, but the film shows that returning home doesn’t mean limiting yourself all over again. No Lanthimos and Stone have created what so many of those previously mentioned men fear. The education of Bella Baxter cannot be contained and it is nice to see several people including the two most important men in her life accept her as a learned being. For all its hostility and unneeded aggression from its lesser male creatures, POOR THINGS wants to show that not everything and one needs to fall prey to the world’s cruelness. Instead we could learn a thing or two (or hundreds) from Bella. Someone who has learned of the horrors of the world but instead chooses to never let it control her. Instead the scientific exploration of herself and those around her can create a beneficial place that also allows for the heart to find some sense of peace. This however can never be done if you settle in any capacity. Bella may have started out as a creation of someone else’s curiosity but there is no question that she is now the one asking the questions and also finding the answers. All on her time and through her desire.

A+

POOR THINGS SCREENED AT THE NEW YORK FILM FESTIVAL. IT WILL BE RELEASED IN THEATERS DECEMBER 8th