“Poor Girls” by Yorgos Lanthimos
Bella Baxter (Emma Stone) is a young girl who walks bumping her waist protected by a shell house among domestic animals, the result of the experiments of her creator father Godwin, whom she simply calls God. Bella is a child in a woman’s body because her creator wanted it that way.. In the head is the brain of a child who waited in her first life when desperation drove her to commit suicide. Lanthimos returns to his themes: prison, prison family, master-father, fear of the outside, the absolute charm of the outside – throw yourself into one gothic fairy tale modern against the background, out of time, like a capsule traveling in a believable reality where Lisbon seems like Lisbon, but it’s not quite like Paris or Alexandria in Egypt. Bella is a woman, and she discovers this when she runs off with a lawyer who has been called in to draw up the prenuptial agreement that Godwin wants for her.. He is attracted to this pure flower with free sensuality, without the oppression of social conventions; she sees in him the possibility of knowing the world. He learns sex, as well as the tedious transformation of a lecher into a sticky man, and learns escape, freedom at the cost of a few tears. Sugar and despairis the formula that Bella faces with the “outside world”, whether it’s Godwin’s house or the ship’s cabin that the lawyer (Mark Ruffalo in long gone uniform, desperate and ridiculous) wants to lock her up to keep her under control. The “poor” is a world populated by the poor, by women who want to be free easily, by men who own and are possessors.. Lanthimos creates worlds directly from well-groomed opening credits or from a historical patchwork that already says something about a film, and for this reason his films remain imprinted on the viewer, marked by absolute control over cinematic material. Like Prometheus. Like Dr. Frankenstein. Or Dr. Godwin (Willem Dafoe, ugly, sublime). Rating: 7 and 1/5. A movie world in which Lanthimos enjoys immersing the viewer like in an Achilles bath, the film only has a downturn in a part of Paris where perhaps it fixates too much on a selection of sex scenes that involve a now liberated woman. Beautiful Baxter. At the end it rises and the audience applauds.