Emma Stone

Mark Ruffalo

Willem Dafoe

Ramy Youssef

Christopher Abbott

Suzy Bemba

Jerrod Carmichael

Kathryn Hunter

Vicki Pepperdine

Hanna Schygulla

Margaret Qualley

Jack Barton

Charlie Hiscock

Attila Dobai

Emma Hindle

Anders Grundberg

Attila Kecskeméthy

Jucimar Barbosa

Carminho

Angela Paula Stander

Gustavo Gomes

Kate Handford

Owen Good

Zen Joshua Poisson

Vivienne Soan

Jerskin Fendrix

István Göz

Bruna Asdorian

Tamás Szabó Sipos

Tom Stourton

Mascuud Dahir

Miles Jovian

Jeremy Wheeler

János Geréb

Patrick de Valette

Raphaël Thiéry

Boris Gillot

Dorina Kovács

Yorgos Stefanakos

Hubert Benhamdine

Laurent Borel

Gábor Patay

Laurent Winkler

Andrew Hefler

Damien Bonnard

Noah Breton

Donovan Fouassier

Wayne Brett

John Locke

Keeley Forsyth

David Bromley

Celina Schleicher

Roderick Hill

Yorgos Lanthimos

Yorgos Mavropsaridis

Ildikó Kemény

Kasia Malipan

David Minkowski

Mónika Nagy

Nadia Stacey

Paula Shanahan

Alex Harper

Renátó Cseh

Bence Kalmár

Géza Kerti

Adam A. Makin

Peter Várdai

James Lewis

Shona Heath

Holly Waddington

Kinga Kosá-Gavalda

Brendan Feeney

Max Behrens

Simon Carroll

Dániel Szabó

Tallulah Baker

Tom Feist-Wilson

Stephen Murphy

Deborah Harding

Eszter Kerekes

Bori Szarvas

Zemlényi András

Joshua Brownwood

Farkas Esztella

Edoardo Petti

Barnabas Regensburger

Roxana Szarisz

Dora Takacs

Lili Lea Abraham

András Ajtai

Andras Balogh

Jonas Bethge

Vince Boldog

Linda Bándi

Cecília Bárdos

Budai Csaba

Gabor Csernus

Lilla Dévényi

Anna Döbrössy

Csongor Egyed

László Tibor Erdélyi

Hanna Eros

Florian Fickert

Gergely Fodor

Carlotta Giacomin

Miklós Hatvani-Deàk

Judith Hynes

Balázs M. Kovács

Zsófia Kóthay

Gábor Magyar

Orsolya Maza

Eszter Mazányi

Salwa McGill

Dániel Miklós

Antonio Niculae

Eszter Sebők

Júlia Sebök

Thomas Staniforth

Toldi Veronika

Zoltán Virányi-Fontan

Plum Woods

Steven X. Haber

Paul Jones

Olga Abramson

Péter Böszörményi

Péter Fedor

Ákos Gulyás

Máté Kecskeméti

Márk Komáromi

Károly Lakatos

Csaba Mecseki

Atsushi Nishijima

Pantea Pakniyat

Rory Power

György Réder

Gabor Schmidt

Ármin Szilágyi

Attila Szücs

Richter Viktor

Katalin Baranyi

Lucy Jordan

Lucy Smith

Jessica Straker

János Cserven

Dora Simko

Loránd Molnár

Sarah Giles

Sophie Bugeaud

Eleanor Bull

Vincent Dumas

Science Fiction

Romance

Comedy

Poor Things

Searchlight Pictures

Film4 Productions

TSG Entertainment

Element Pictures

Limp

Fruit Tree

Ireland

United Kingdom

United States of America

Manuel São Bento

FULL SPOILER-FREE REVIEW @ https://fandomwire.com/poor-things-venice-film-festival-review-emma-stone-shines-in-the-best-film-of-the-year-so-far/

"Not only is Poor Things the best movie of the festival, but it's also the best of the year so far, as well as a new personal favorite of Yorgos Lanthimos' career.

A brilliantly thought-provoking, insanely hilarious story packed with substance, focused on a fascinating self-discovery journey filled with thematically rich layers. Astonishing performances from the entire cast, but Emma Stone is truly impressive as an exceptionally expressive force who should win many awards.

A technical masterclass across all filmmaking areas simply puts the icing on top of a near-perfect cake."

Rating: A

Brent Marchant

When the circumstances of our lives don’t suit us, it’s time to reinvent ourselves – something that happens both literally and metaphorically in this latest offering from director Yorgos Lanthimos. But the way that result comes about here represents a truly inspired fusion of genres, including comedy, romance, social commentary and sci-fi, making for one of the most inventive, unusual and hilarious releases of recent years. This offbeat feminist fable tells the story of how a pregnant, young, anonymous suicide victim (Emma Stone) is reanimated with the aid of a brain transplant from her unborn fetus, an achievement accomplished by a colorful, controversial but well-meaning surgeon/scientist a la Dr. Frankenstein (Willem Dafoe). He nurtures his subject back to life, health and sentience, a sometimes-challenging process that finally surfaces when she discovers sexuality, the trigger for exploring a new, independent life for herself, both physically and emotionally. Through a series of adventures over the course of a trip through Europe with a free-wheeling, lusty but lecherous, self-serving lawyer (Mark Ruffalo), she finds herself as a self-actualized woman in an age where that’s more of a rarity than a standard, particularly in a world where men treat women more like property than people. While the film’s pacing could use some shoring up in the middle, this offering nevertheless entertains with uproarious laughs throughout, even when the narrative turns more thoughtful and substantive. The superb performances by Stone, Dafoe and Ruffalo are top shelf, contributing to the picture’s whopping 13 Critics Choice Award and 7 Golden Globe Award nominations. The film is also visually stunning in its cinematography and editing, as well as in its spectacular and whimsical production design, filled with images reminiscent of the movies of Wes Anderson and Terry Gilliam while sustaining a look all its own. Admittedly, this release features a good deal of explicit sexuality, both visually and in the dialogue, so sensitive viewers should take note. However, as one of the most anticipated pictures of this year’s awards season, “Poor Things” never disappoints, serving up a solid offering that consistently tickles the funny bone while giving audiences much to think about – and there’s nothing poor in any of that.

CinemaSerf

It's almost as if Yorgos Lanthimos had sat down for a transcendental conversation with James Whale! Student "Max" (Ramy Youssef) is a student recruited by his professor "Godwin" (Willem Dafoe - aka "God") to come and help him work on his latest project. She's called "Bella" (Emma Stone) and it soon transpires that she is the product of some very creative surgery on the part of "God" - a man who has, himself, had one or two experiences under the knife at the hands of his scientist father! You see, a pregnant woman took her own life by jumping from a bridge, but was luckily fished out of the water before her baby died. The surgeon managed to deliver the baby then replace the dead brain of the adult with the one from the nascent infant! Needless to say, "Bella" is on an actively steep learning curve and is quite capable of throwing the odd tantrum to get what she wants - and that is, initially, to go out and explore. Gradually more empowered, and a little more mature, she discovers the delights of the orgasm - and after that there's no stopping her. "God" tries to control her by suggesting a marriage to "Max" but he insists on such a fastidious contract that "Duncan" (Mark Ruffalo) concludes she must be worth investigating. He meets her and offers her her dreams, she convinces "God" to let her go with him and soon she is embarked on a trip around Europe enjoying the frequent delights of "furious jumping"! The always learning woman soon tires of her beau, and realises that she can have loads of fun and earn at the same time - before "God" falls ill and she must return home to not just that life, but surprisingly to the one she thought she had left behind on the bridge. This film is genuinely laugh-out-loud at times, and the performance from Emma Stone has to be her best. She plays the almost porcelain-like and childish "Bella" when we meet her expertly, and that skill prevails as her character evolves into a savvy, street-smart and capable woman who quickly learns to fight fire with fire. Ruffalo is also on super form as her travelling companion and Kathryn Hunter also turns in a solid performance as her Parisian paymaster "Swiney". The narrative takes us on a fantastic tour of European cities, but also on a wonderfully evocative tour of humanity - warts and all. "Bella" has a practical and analytical mind that at times seems ludicrously detached, then somehow she ends up having got it right all along. It might look a bit long at just shy of 2½ hours but it really flies by and I couldn't help but feel sorry for the poor billy goat at the end of this creatively interpreted and very well adapted story of what were originally supposed to be Glaswegian hotspots!

Superb! It's quite the ride!

I don't have the film school-esque analysis to adequately describe all this, so I'll very much leave that to others. What I can note, though, is that I had a great time watching <em>'Poor Things'</em>. It's incredible. I have many a positive, though the main one is obvious: Emma Stone. All I can say is: Bravo! A truly outstanding performance!

Another major, major plus is the music. Wow! Sensational. It's so commanding throughout, blowing me away in what felt like every few minutes... and yet, it never distracts or takes you out from any scene unfolding onscreen. One of the greatest scores I've heard in a very long time. That aside, the visuals are amazing - from the colours to the sets, major props to all those behind the scenes. It all looks exquisite.

Stone isn't alone in impressing, as Willem Dafoe is brilliant too - loved his showing in this, the accent is particularly well fitting. Mark Ruffalo is praiseworthy too, as is everyone else to be honest - e.g. Ramy Youssef and Kathryn Hunter. They all partake in a quite bizarre plot, but one that is absolutely absorbing from beginning to conclusion.

Pre-watch I was somewhat expecting that this was going to be one of those (having not researched anything, as per) overly artsy flicks that I wouldn't connect with, delightfully I was totally wrong. I also felt, when Christopher Abbott's character appears, that the film should've ended earlier, though again I was incorrect because the film simply manages to continue at such a hugh quality.

To wrap it up: I loved it. Credit to all involved.

Fantasy drama- comedy adult film directed by Yorgos Lanthimos (The Killing of the Sacred Deer, The Lobster, The Favourite) and written by Tony McNamara (The Great, The Favorite, Cruella), being based on the 1992's novel by Alasdair Gray, that Lanthimos liked and even went to Scotland in 2009 to buy the direct of the movie.

Having a victorian semi-steampunk and exquisite atmosphere it tells the story of a newly created woman Bella Baxter, with her body reanimated by the eccentric surgeon Godwin Baxter, that discovering that after her suicide jumping a bridge she was pregnant, and uses the unborn fetus brain on her head.

After this she went on a journey from a Frankenstein character and develops her tastes and skills gradually till the end of the filme. I must say that some sexual scenes with Emma Stone and her character sexual appetite are most daring and shows how she grow as and actress in all aspect.

The main core of roles are Emma Stone as Bella Baxter, Mark Ruffalo as Duncan Wedderburn, Willem Dafoe as Dr. Godwin Baxter and as a lesser role Ramy Youssef as Max McCandles.

According to the cinematographer, Ryan Williams (American Honey, The Favorite) in conjunction with the director Lanthimos used an array of cameras, lens and films included Nikon, Angenieux Optimo and Zeiss Master Zooms, an ultra-wide PL-mount Optex 4mm fisheye, designed for 16mm/S16mm cinematography, that opens up to T2, plus antique 58mm and 85mm Petzvals. Ryan selected EASTMAN DOUBLE-X Black & White Negative Film 5222 for the movie's opening B&W sequences, KODAK EKTACHROME Color Reversal Film 100D 5294 for Bella's elopement and adventures with Wedderburn, and KODAK VISION3 500T Color Negative Film 5219 for the film's denouement.

The production design by Shona Heath	and James Price and the equip of art direction and prosthetics made and incredible job plus with the unique costume design by Holly Waddington (Lady MacBeth, Clash of Titans) also are striking, from the more bizarre childish dresses used on the start of the film to the more adut  on the end. All this with a modest budget of $35 million.

The movie have 11 Academy nominations for Best Achievement in Makeup and Hairstyling, Best Achievement in Music Written for Motion Pictures (Original Score), Best Motion Picture of the Year, Best Achievement in Directing, Best Performance by an Actress in a Leading Role, Best Performance by an Actor in a Supporting Role, Best Adapted Screenplay, Best Achievement in Cinematography, Best Achievement in Film Editing, Best Achievement in Production Design, Best Achievement in Costume Design and  already have 11 BAFTA awards plus Venice Film Festival 2 awards, Golden Lion Best Film and Yorgos Lanthimos 2023 Winner UNIMED Award.

I honestly hope that the movie shines and it shinned for me and obfuscated some other movies (maybe only not in best co-adjuvant actress - which we don't have here) at the academy.

Chandler Danier

How old when they start banging her? Very much a baby when she's a hot retard. If this isn't proof of pizzagate, I don't know what is.

Recommend watching as much as possible in the theatres and retiring to your most leisurely of spots for a pirated ending. Super enjoyable performances. Violent. Sensual. Lots of titties. A little long.

Director Yorgos Lanthimos sweeping cinematic spectacular film that explores the life of what it means to be human, a woman, what exactly is life, and what is love. 

The tale follows Bella Baxter, a woman who had been given another chance at life in the weirdest medical experiment.

The film will make you think. It will stun you with its visual prowness from the direcotr, and the cast commitment to staying in character throughout.

Although I found the film to be the strangest tale mixed with aspects of Frankenstein and Eat, Pray, Love.

 Do not try to think too deeply about what you see because this is a film that wants you to sit and enjoy it's story with fascination, and delight all of your senses.

I give it 4/5 stars for it's uniqueness.

Men bad. Interracially promiscuous socialist prostituted bisexual sociopathic women good. The end.

Thank you, feminism. I'm surprised there were no transpeople in this thing. Maybe in the director's cut.

Boring. So, so boring. You're sooo boooooring.

This film is nothing I thought it would be. I'm glad I'm of the ilk to watch something for at least 10 minutes or I might have turned it off. The plot was eccentric/odd to say the least, but it grew on me quickly thanks to the performances. All were outstanding to say the least and thought Ruffalo would take the supporting award. Stone and Dafoe brilliant work.

The cinematography was fantastic which kept me looking for more each scene. Director gave us a great ride of which I enjoyed very much. 

I guess I'm trying to say, from start to finish, I enjoyed the ride, and everyone involved in this movie did an incredible job.

How this movie was not rated NC-17 is the greatest feat of Emma Stone’s career. Surpassing even two Oscars.

A woman jumps off a bridge and kills herself.
Upon discovering her body our resident mad scientist takes it home , studies _the human body for dummies and goes to work. After his success the brain of our suicide victims baby 
Begins to grow up in its mothers body.

The Scientist invites a valued student to dinner to meet his creation Bella Baxter.
It is not long before the student discovers Bella’s special situation. Upon confronting his mentor an arraigned marriage is agreed upon.

Bella has other ideas. 35 in appearance but 16 in spirit she runs off with her father’s lawyer. Then she begins to experience life.
Food.Sex.Food.Sex.Sex.Sex.Dancing.Sex.Politics.Sex.After a cruise and a falling out on cold Parisian morning she joins a brothel. Combined with endless sex she matures further on many aspects of life.

In spite of moral complaints the plot is quite coherent eliminating it as such. There is nothing in this film at all that should shock its director’s fan base. 

Was I really supposed to believe that was 19th Century Lisbon? Honestly , when Stone was on screen I was not looking at the sets too carefully.Also the movie was absent a scene with a thousand geese.

**Poor Things: A Steampunk Symphony of Rebirth and Discovery**

From the moment Emma Stone appears on screen in Yorgos Lanthimos's "_Poor Things_", it's clear we're in for something extraordinary. Who knew Stone had such incredible comedic timing? Her portrayal of Bella Baxter is a revelation—a performance that transforms from infantile curiosity to nuanced self-discovery with remarkable precision.

Bella's character arc is nothing short of miraculous. Stone navigates Bella's developmental stages with such delicate complexity that you're simultaneously amused, uncomfortable, and deeply moved. From her initial childlike movements to her eventual sexual and intellectual awakening, she crafts a character who is both alien and profoundly human.

This is, without question, my favorite Yorgos Lanthimos film. His signature absurdist approach finds perfect harmony with this narrative, creating a world that's simultaneously grotesque and enchanting. The steampunk aesthetic is a delightful throwback to Jules Verne, with the Eiffel Tower establishing a precise historical context. The occasional use of 16mm lens work beautifully enhances this sensation, sometimes feeling like we're peering through a vintage camera obscura—creating an almost dreamlike quality that mirrors Bella's own perception.

The film's literary DNA is unmistakably Frankensteinian. The biographical parallels with Mary Shelley are both fascinating and intentional. Shelley, herself motherless after her mother's death in childbirth, seems to have inspired multiple layers of Bella's narrative. The fact that Shelley's half-sister, like Bella's mother, died by suicide adds another haunting dimension to the story.

The relationship between Bella and her creator, Dr. Godwin Baxter (brilliantly played by Willem Dafoe), is particularly poignant. Her calling him "God" is a multilayered reference—not just to Shelley's own father William Godwin, but a sly commentary on the act of creation itself. That heart-wrenching moment when the dying Godwin notes that Bella only ever looked at him with pure love is reminiscent of the monster and child scene in Boris Karloff's iconic 1931 Frankenstein—a tender echo of monstrosity and affection.

Lanthimos has crafted something truly unique: a feminist bildungsroman wrapped in science fiction, comedy, and philosophical inquiry. "Poor Things" isn't just a film; it's an experience that challenges our understanding of autonomy, identity, and what it means to truly come into one's self.

I just watched it. I’d love to say I have no words because that’s what I believe many people feel, but because I love to analyze, I can find the exact words to describe this movie: an understanding, confusing, sorted chaos.
I might say that I love the director’s take on feminism—that’s the whole deal. A girl curious to become a woman of knowledge. She experiments, and as she grows, we see many artistic choices showing how Bella develops. Her growing hair, her walk style, and the use of color are all significant.
Max, in my opinion, is the definition of a good guy. He believes a woman can do anything she wants, and he won’t try to stop her. Eventually, she ends up with him—kind of. Strange, right? All those abusive men, like Duncan, who told her not to fall in love with him, eventually fell the hardest and went crazy because he couldn’t bear Bella’s choices. He couldn’t handle the fact that she chose to become a prostitute.
Understanding why Bella made such a decision was challenging at first, but then it all concluded that she was just curious or wanted to save the word. 
It’s amazing how prostitution is shown as something women use to escape difficult situations. Well done.
On the other hand, when Max wanted to marry Bella and knew she’d been with many men, he asked her to get tested, and she agreed. It’s that simple. 
Overall, I love the sound design. The music is incredibly well done, and I can’t say anything wrong about it. It always suited the situation and amplified her emotions even more.
The camera work was particularly good. I loved the zoom-ins and outs—it was fascinating because, in film school, they teach you not to do that, but the director saw a purpose in it.
This film breaks what we know about filmmaking today, even when you don’t realize it at first, and that’s the best part. This movie breaks the rules of filmmaking just as Bella breaks the rules of society.
As my last point, yes, it might seem explicit and chaotic, but that’s the image of the movie. If you really try, you’ll find answers to your questions—because not everything is served to you on a golden plate.
It’s a 10 out of 10 for me.

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Emma Stone as 'Mia' (La La Land) & 'Bella Baxter' (Poor Things) | Crafting Oscar-Winning Performance

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