Why ‘Poor Things’ Is The Best Film Of The Year

What does it need to happen to call a movie the best movie of the year?

Well let’s start defining what a movie is. A movie is a sequence of images that all together tells you a story presented by imperfect characters in a specific world trying to overcome obstacles to reach a desired goal.--- any resemblance with reality is a coincidence. 

The accolade of being the best movie of the year hinges on the film's excellence across multiple dimensions. It necessitates achieving the pinnacle in storytelling, character development, thematic elements, cinematography, direction, and more.

The film must adeptly establish and immerse the audience in its unique world, whether it's a fantastical realm, a historical era, or a contemporary setting.

Exceptional movies feature characters that are intricately developed and relatable, grappling with significant challenges or conflicts. Viewers should feel a deep investment in the characters' journeys, relationships, and personal growth. The portrayal and resolution of these struggles contribute significantly to the film's impact. 

A strong narrative is set by clear and meaningful character goals, motivations, and arcs. The audience should comprehend and empathize with the characters' quests. An outstanding movie explores relevant themes and imparts meaningful messages that resonate with the audience. This could involve addressing societal issues, delving into philosophical questions, or conveying emotional truths. 

The director's vision plays a pivotal role in steering the narrative, guiding performances, managing technical aspects, and assuming the responsibility of ensuring that the film's message aligns with intended themes. Moreover, the director's influence extends to resonating with the audience and reflecting a sense of social or ethical responsibility. This recognition underscores the influential impact that movies can have on shaping perspectives and sparking conversations in society.

In a cinematic landscape flooded with narratives, 'Poor Things' emerges as a beacon of innovation and brilliance, defying conventions and captivating audiences with its pure originality. 

Directed by the visionary filmmaker Yorgos Lanthimos, this masterpiece challenges the very essence of traditional cinema. As we delve into what makes a movie the best of the year, let's unravel the unique tapestry of 'Poor Things.’

Brief synopsis: Doctor finds a dead woman. Woman’s pregnant. Doctor replaces the mother's brain for the unborn’s brain. Doctor revives mother. Mother is now impaired. 

Just by reading those lines, you should feel intrigued.  If you are not, please stop reading, and thank me later.

Here are a few reasons why ‘Poor Things’ is the best movie of the year.  And before I continue, I want to be clear, ‘Poor Things’ might not be your cup of tea, but you cannot bring it down.

Narrative:

First and foremost, the film’s narrative is a breath of fresh air. It skillfully weaves a compelling story that transcends conventional genres, offering a unique and thought-provoking experience. The continuous plot twists and turns keep viewers on the edge of their seats, challenging their own perceptions and assumptions, making the viewing experience both thrilling and unpredictable.

Cast:

The ensemble cast delivers standout performances that elevate ‘Poor Things’ to a level of excellence, rarely seen in contemporary cinema. Emma Stone, who plays Bella Baxter said that Bella has been one of the more complex characters she had ever played. Mark Ruffalo, who did not want to participate in the movie, found nothing in common with his character Duncan. And the extraordinary William Dafoe. These actors and the rest of the cast including Kathryn Hunter, whose performance I found delicate and delicious, went beyond the comfort of their craft and dug masterfully into the intricate complex characters. Each actor brings nuance and authenticity to their characters, creating a symphony of emotions that resonates with the audience long after the credits roll. The chemistry among the cast members is palpable, contributing to the film’s overall impact.

Furthermore, ‘Poor Things’ is a visual feast for cinephiles.

The cinematography, led by Robbie Ryan–C’mon, c’mon and The Favourite, is nothing short of breathtaking. Every frame is meticulously composed, showcasing a mastery of the visual language of cinema. The use of color and black & white give a sense of diversification within the worlds the film presented. Innovative camera techniques and artistic framing elevates the film to a visual spectacle that is as aesthetically pleasing as it is intellectually stimulating.

The film’s score, composed by Jerskin Fendrix, deserves special mention. The haunting melodies and evocative themes not only complements the narrative but also serves as a character that stands tall along the movie, enhancing the emotional depth of the story, leaving a lasting imprint on the viewer’s soul.

‘Poor Things' transcends the realm of conventional filmmaking, offering an immersive experience that challenges boundaries and opens a portal into a unique narrative. With its innovative storyline of a 36-year-old woman possessing a transplanted 2-year-old brain, the film serves as a poignant metaphor for the complexities of the modern world.

This extraordinary tale becomes a powerful commentary on the challenges individuals face in navigating a rapidly changing society. As the story unfolds, it prompts reflection on the importance of embracing diversity, adaptability, and the harmonious fusion of contrasting perspectives in our contemporary world. By skillfully blending the fantastical with the real, 'Poor Things' underscores the need for understanding, empathy, and acceptance in a world grappling with societal evolution and individual identity.

The film's impactful nature lies in its ability to provoke thought and encourage meaningful conversations about the ever-shifting dynamics of our present-day reality.

"Little Dog: Unleashed - The Making of a Film that Refused to be Tamed."

INTRODUCTION

'Welcome to America, so you're a filmmaker and you have no camera,' they asked with a hint of intimidation that made me wonder if I even had a camera. 'That's right, sir, I have no camera,' I replied firmly. After living 15 years with an intimidated father, you either become submissive or you learn not to be easily intimidated. They let go of the filmmaker with no camera. Since then, it's been one adventure after another. Today, I want to share with you my experience of shooting 'Little Dog,' my first short film in the USA—correction, the second one, because the first one was no good, so I tossed it down the drain.

Little Dog had four versions: the one I wrote, the one we shot, the one we re-shot, and the one you will get to watch. Each time I viewed the version that you'll experience, I arrived at the same conclusion—it should've been called 'Miracle.' Yet, 'Little Dog' was 'Little Dog' before 'Little Dog' was 'Little Dog'—a short film with a big heart.

Little Dog was initially inspired by my old friend, whose life was confined to a wheelchair after a second heart attack. His dream of becoming an actor placed me on the spot. I told him, 'Let's make a short film; in case you die, you'll be displayed on screen eternally.' He couldn't resist the idea, but doctors refused, presenting me with a massive challenge. That's when I set out to find my own Mr. Larry.

THE SCRIPT

The script for Little Dog swiftly took shape during a single session at Gold's gym in Austin, Texas—a curious kid challenging an old man about the absence of technology, with the old man vexed by the child's simple perspective. This image emerged as a crucial hook. However, it wasn't until the arrival of the third character that the narrative delved deeper, transforming a straightforward concept into a more intricate exploration of interpersonal relationships. How characters evolve, emotions run deep, and unexpected bonds shaped by invisible strings.

The necessity of learning for the young character's literary journey was non-negotiable, and I was adamant about not opting for a children's book. In my quest to find the perfect literary companion, I recalled the profound impact of "On Earth We're Briefly Gorgeous" by Ocean Vuong. My decision to draw inspiration from Vuong's novel is deeply personal. His prose, steeped in emotion and nuanced storytelling, resonated with me on a level that transcended the pages. The novel's unparalleled ability to capture the essence of the human experience became a driving force, inspiring me to infuse those same emotions into the visual storytelling of "Little Dog."

ON SET PART I

No on-set adventure is without its challenges, unexpected twists, the last-minute changes, and the collaborative problem-solving that define the true essence of filmmaking. It's not just about sticking to the script; it's about embracing the spontaneity that makes every shoot a unique adventure. Little Dog's story became an unexpected twist in our narrative. Planned as a two-day shoot, our adventure was abruptly cut short to just one. The homeowner, discovering a broken toilet from the first day, firmly declared, "Your production is over." As the lone producer, navigating this unscripted challenge became an internal dialogue. Little Dog limped away, leaving us to redefine our storyline in the face of unforeseen setbacks.

ON SET PART II

Back to my hotel room in Portland, Oregon, where I put together the project, I realized that we had to get back on set to find the missing piece. But money was running out. So the challenge was to fly back to Chicago, rent the location for three hours under a different name, and finish the short with a crew of 2 people and actors. Upon our arrival, the cinematographer asked, where's the sound guy? And, I said, no sound guy. His face was priceless.

EDITING ROOM

Returning to the editing room wasn't the exhilarating experience I had anticipated. The alternative ending I envisioned didn't come together as expected; visually, it lacked allure, and the missing piece I sought was replaced with something different, something I couldn't resonate with. The truth? I didn't like it. When I work, I must find satisfaction in what I create, something worth talking about. If I don't like it, I won't talk about it.

So, I let it sit for two months, but the memory of the powerful scenes lingered — the emotions, the fights, the tears, the learning, the curiosity, the looks, the eyes, the gestures. It was a feast of experiences, overwhelming yet inspiring. However, with such a rich tapestry, I struggled to figure out how to weave it all together.

Then came a breakthrough. I made a list, capturing the raw emotions and clever dialogues, and meticulously organized them on paper. With a newfound clarity, I embarked on the editing of Little Dog from scratch. No longer bound by the initial script, I let the material guide me. No rush, no constraints, just a focused effort, allowing the character to speak for itself. And voilà!

CONCLUSION

What excites me most about 'Little Dog' is its commitment to going beyond the surface. This film is not just a cinematic endeavor; it's a personal project—it's my way of sharing a piece of my soul with you. I invite you to explore your own connections and reflect on the transformative power of human relationships..

As a director, I want to create an experience that resonates with your heart and stays with you long after the credits roll. If I achieve that with just one person, I would consider our work well done.

Thank you for being a part of this personal and heartfelt venture of discovering the beauty that emerges from the unlikeliest of circumstances. I can't wait for you to experience the magic of Little Dog.

From a Cellphone to Cannes: The remarkable Journey of Bebé.

Embarking on the journey of creating my first piece of film, 'Bebé,' was a rollercoaster of emotions, challenges, and creative discoveries. Now, after a decade, with the short film standing completed out in the world, it's time to remember and share the behind-the-scenes tale of this cinematic adventure.

Inception of the Idea: The birth of any creative endeavor holds a certain magic, and the genesis of "Bebé" was no exception. In the halls of the filmmaking school I attended, each semester brought forth a unique opportunity for students to write screenplays for short films. Four lucky winners would then bring their vision to life by selecting a crew. Semester after semester, however, my submissions were met with undesired neglect, cultivating a lingering sense of unfulfillment.

Then came a chance encounter that would alter the course of my creative journey. A random meeting at the gym introduced me to a kindred spirit, Cristian Hoyos. Our immediate connection was forged by shared desires—mine to direct and his to act authentically. Both of us harbored a graceful dissatisfaction with our current paths, setting the stage for collaboration. Cristian, the aspiring actor, would soon become the embodiment of the character "Bebé."

The inception of Bebé was rooted in a unique challenge that Cristian presented to me. He yearned to inhabit a character that pushed the boundaries of comfort. In response, I crafted Bebé, a trans-woman living as a prostitute in a third-world country, navigating the complexities of motherhood amid societal disadvantages.

The inspiration for Bebé's narrative struck a poignant chord during a conversation with a young woman. Her words, "I’d rather kill my daughter than give her up for adoption," echoed with profound intensity. The fear of imagining her daughter existing somewhere unknown haunted her, robbing her of peace for a lifetime. These words lingered within me, demanding expression.

The writing process is a haze in my memory, the duration lost to the creative fervor that consumed me. What remains vivid is Cristian's immediate connection to the script and my own burgeoning obsession with the narrative. Together, we veered away from the initial notion of recording with our cell phones, opting instead for the grandeur of a real crew and professional equipment. My status as a filmmaking student lent invaluable assistance, transforming a challenging concept into a tangible project.

Pre-Production Challenges: They say the devil is indeed in the details, and during pre-production, I came face to face with the weight of this adage. One of the initial challenges lay in the intricate portrayal of Bebé, a character demanding nuanced acting expertise to do justice to her complexity. To bridge the gap between script and reality, we embarked on an unconventional journey.

Venturing into the streets, we immersed ourselves in the world we sought to capture authentically. The collaboration with real trans-prostitutes became a transformative experience. Cristian, our lead actor, embraced the enigmatic world, embarking on an adventure that went beyond the confines of the script. This immersive experiment proved invaluable, allowing Cristian to discover and authentically portray Bebé's voice—a testament to the commitment and dedication invested in bringing the character to life.

Another notable challenge emerged when the first scene, portraying Bebé being found on the street by another trans woman, was initially written for two trans women. Unfortunately, the night before shooting, both actors canceled due to panic. This unexpected hurdle could have derailed our plans, but it turned out to be a serendipitous twist in our filmmaking journey. In a stroke of fortune, Stefano Agudelo stepped in on the same night, replacing the two trans actors. With no time for rehearsals, Stefano embraced the role, and to our amazement, he shone brightly the next morning. His ability to seamlessly adapt to the character without prior preparation became a testament to the unpredictability and resilience required in the world of filmmaking. The scene unfolded beautifully, thanks to Stefano's impromptu contribution and the collaborative spirit of the team.

The days on set unfolded as a tumultuous blend of excitement and chaos. Originally, our vision for Bebé was to capture the entire story in a single, marathon day of shooting. However, fate had other plans, and our journey took an unexpected turn. As the clock struck 5 pm, in adherence to contractual obligations, our sound guy bid us farewell. Little did we realize the crucial role sound plays in a cinematic narrative until its abrupt absence left us with a sobering realization. Undeterred, a decision was made to soldier on and continue shooting. In hindsight, it proved to be an erroneous choice—everything captured post-5 pm became a regrettable investment of time and effort, a lesson learned in the unpredictable landscape of filmmaking.

Undeterred by setbacks, we rallied our forces and returned the following weekend with renewed determination. Serendipity smiled upon us as we secured a more spacious setting, a stroke of luck that breathed new life into the project. The expanded space not only rectified the previous setbacks but also allowed for a more intricately orchestrated second part of the film.

In the grand tapestry of our filmmaking journey, this on-set anecdote became a chapter of resilience, adaptability, and the unforeseeable twists that make each project a unique adventure. It reinforced the understanding that, in the unpredictable realm of filmmaking, every setback can be an opportunity for creative rebirth and an unexpected enhancement to the final product.

The Big Reveal: Post-production unfolded with surprising ease; most of the material remained pure gold. The performances, a culmination of the hard work invested during pre-production, paid off beautifully. As we wrapped up and everyone basked in the glow of their collective achievement, a thrilling twist awaited.

CANNES FILM FESTIVAL recognized our work and ushered us into the prestigious Court Métrage Short Film Corner section, catapulting our creation onto the global stage. This unexpected turn of events marked a profound shift in the course of our lives. Excitement should have been the prevailing emotion as I boarded the flight to Cannes, but deep depression gripped me. Throughout the entire week at Cannes, I found solace only within the confines of my hotel room.

Amidst the prestigious film festival and the congratulatory emails flooding in from people worldwide who had experienced our masterpiece, an inner pain persisted. The external acclaim couldn't erase the internal struggles I faced. Still, within the midst of my personal battle, I remained profoundly grateful for those who connected with the story of Bebé. The power of storytelling revealed itself not only in the accolades but in the genuine impact it had on the audience, a bittersweet realization amid the glamour of Cannes.

Conclusion: Reflecting on this filmmaking odyssey, I'm grateful for the lessons learned, and the growth experienced. Whether you're an aspiring filmmaker or a fellow creative soul, I hope this glimpse behind the scenes provides insight and inspiration for your own artistic endeavors. Sharing my first movie experience through this blog has been cathartic, a way to relive the highs and lows, and perhaps inspire others to embark on their cinematic adventures. Remember, every frame tells a story, and behind each story lies a fascinating journey of creation. Don't let depression blur the magic moment of watching people engage with your creation.