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Known for his unconventional style, Yorgos Lanthimos returns to his roots with his newest film “Kinds of Kindness.” Following the success of his big-budget production “Poor Things,” this feature proves to devoted audiences that, despite his critical acclaim, Lanthimos remains the same eccentric director behind “Dogtooth,” “The Lobster,” and “The Killing of a Sacred Deer.”

“Kinds of Kindness” is a two-hour anthology of three punchy short stories that improve as the film progresses. The stories — titled “The Death of RMF,” “RMF is Flying,” and “RMF Eats a Sandwich” — begin with a quiet, bearded man, identified only as RMF by the botched blue stitching on his button up shirt, who appears at the doorstep of a mansion belonging to a young woman. She answers the door, takes his photograph, and talks nonchalantly about him with her aging boss over the phone.

Unbeknownst to audiences, RMF is about to become the target of a carefully planned car accident.

The three stories that follow are unrelated to one another but are linked by the same characters. Lanthimos and co-writer Efthymis Filippou have worked together numerous times, with their films often dissecting dystopian versions of the real world. However, the realism of “Kinds of Kindness” makes it feel especially brutal. Set in the present day, it urges audiences to carefully consider the power they willingly give away to others.

“The Death of RMF” follows Robert (Jesse Plemons), who lets his boss, Raymond (Willem Dafoe), control every aspect of his life — from what he reads, wears, and likes to the woman he marries. One day, Raymond asks Robert to crash into a man at a specific time and location at the highest velocity possible, hoping Robert will end up in the hospital. Unable to carry out the task for fear of killing the other driver, Robert faces an internal conflict between breaking his moral code and seeking affection.

The writing, particularly in this segment, deftly explores themes of power and control, showcasing Lanthimos and Filippou’s ability to craft compelling, morally complex characters. The cinematographic language establishes itself early and continues throughout the rest of the film, using stark contrasts of color and rigid framing to emphasize oppressive environments. At times, cinematographer Robbie Ryan pulls in tight on objects of importance like hands and faces. But more often than not, the camera gives actors the chance to perform to their fullest potential, letting characters play out their cruel actions on screen.

The second story, “RMF is Flying,” will likely be the most controversial in its appeal. It follows police officer Daniel (Plemons), whose wife, Liz (Emma Stone), goes missing during a boating expedition. Upon her return, Daniel does not believe Liz is the same woman. He demands increasingly deranged, self-inflicted actions to prove her undying love.

The third story, “RMF Eats a Sandwich,” follows a similar vein of devotion. Two members of a sexual seaside cult, who are played by Plemons and Stone, hunt for a twin sister rumored to be a prophet with the ability to resurrect the dead. Dafoe plays another cult leader, Oni — who, although more enigmatic than Raymond, is equally ruthless. Dafoe’s performance stands out, garnering laughs and applause from audiences despite sharing the screen with two powerful leads.

The film’s entire cast, which includes Margaret Qualley, Hong Chau, Mamadou Athie, and Joe Alwyn, deliver memorable performances despite brief appearances. Plemons, in particular, showcases his range, even winning the Cannes Film Festival Award for Best Actor. He convincingly portrays vastly different characters, making it feel like separate actors are onscreen. Stone also shines in Lanthimos’ production, proving their strong working relationship.

It is clear that every actor in this film, from those at the center of the screen to those in supporting roles, trusted Lanthimos’ direction to the fullest. However, “Kinds of Kindness” also tests the limits of trust between actors and director. In “RMF Eats a Sandwich,” a particularly long and graphic sexual assault scene caused many viewers to turn away or walk out raising, questions about the boundaries of onscreen trauma and whether such scenes are necessary to make a statement. In this context, the film could have conveyed its message without such severity.

Although “Kinds of Kindness” might benefit from a more seamless narrative structure, Lanthimos trusts his audience to piece together the twisted stories. The film, like many of his previous works, will leave viewers with questions, the first being: Who is RMF? And what the hell does he have to do with kindness?

—Staff writer J.J. Moore can be reached at jj.moore@thecrimson.com.