Yorgos Lanthimos’ polychrome gothic fairytale Poor Things was one of last year’s biggest surprise hits, thanks largely to Emma Stone’s gorgeous, kinetic performance as a Frankengirl who defiantly claims ownership of her sexuality. (She won an Oscar for it.) Poor Things, perfectly entertaining in its inventive weirdness, showed little of the sadistic knife-twisting that had marked most of Lanthimos’ previous films (The Killing of a Sacred Deer, The Lobster). It seemed to have launched him in a new direction. He’ll always want to shock us in some way—that seems to be in his blood—but it appeared that maybe he’d grown out of his penchant for performative, abrasively quirky transgression
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