Is Poor Creatures a feminist film?

During a press conference, Emma Stone developed her point of view on the issue.

The new cinematographic experiment of Yorgos Lanthimos, made its debut in theaters. The Greek filmmaker based in Great Britain unveils an adaptation of the Scottish novel written by Alasdair Gray in 1992, a pastiche of the Gothic work of Mary Shelley. Poor Creatures stages William Dafoe, Mark Ruffalo And Emma Stone in an inventive version of the novel Frankenstein or Prometheus. At the center of the project, a female creature: Bella Baxter. This change of sex seems to aim towards a feminist version of the audiovisual myth – where Bride of Frankenstein would take off her wedding dress to play the leading role. Like the original work, the creature travels through different countries, not with the aim of pursuing its creator, whom it flees, but to open up to the world of which it knows all the secrets. Nevertheless, arguments and counter-arguments come from all sides, regarding the feminist or totally misogynistic qualification of the feature film. Let’s explore the different stages of Bella Baxter’s rise, in a period where men constrain women.

The first days of Bella Baxter can be talked about. At the heart of a scientific project, a newborn’s brain is placed in the young woman’s skull. His childish behavior is in no way compromising and amuses the gallery, as the grimaces ofEmma Stone are realistic. However, what is confusing is the premature exposure of this child to marriage. Indeed, in a patriarchal project, Bella serves as a commodity in a collaborative agreement between Dr. Godwin and his assistant Max McCandless (Ramy Youssef). This marriage would allow Max to keep an eye on the evolution of the experiment, while claiming belonging. The pedophile and patriarchal dimension is invoked in this proposition of life, from which Bella Baxter escapes, on the arm of Duncan Wedderburn, an unfriendly lawyer. Emma Stone also looked at the relationship between Bella and Dr Baxter who strives to consider the young woman as a scientific experiment:

“It’s a complicated relationship. When I read the script, I saw Baxter as a cold, clinical part of Bella’s life. I think he’s becoming a loving father, which is surprising for him since he doesn’t know how to do it. He tries to remain cold and distant despite everything, remembering that Bella is a creature and not a human being. He realizes that he can’t keep her and that she has something human in her. This is evident at the end when he tells her “My work is yours.” It is not her work, it belongs to herself. I think their relationship is beautiful even if it may seem crazy” Emma Stone said at a press conference.

Despite the vast difference between Duncan and Max, these masculine antitheses fall under the spell of Bella Baxter’s spontaneity. The latter awakens sexually with Duncan, an assumed Don Juan. The scenes are explicit and Emma Stone gives herself openly to the camera Yorgos Lanthimosin the most suggestive positions, in uninhibited nudity:

“I feel so stupid. In fact, I felt very comfortable with the actors and Yorgos so I didn’t feel the need to be accompanied. But, Yorgos wanted there to be an intimacy coordinator. She was amazing, I met her and I was like, “How could I have thought I didn’t need her?” I didn’t know enough about the subject. I have such gratitude to these people. They help put us at ease but also help choreograph the scenes. The environment is so much better with them. She was great and I understand better why these people are essential in the profession.“

Bella experiences and claims her addiction to carnal activity, which could be placed on the same level as the engulfment of Pasteis De Nata, which she loves. What is more feminist than a woman who freely enjoys the pleasures of life? Even if he only wants her for herself, Duncan Wedderburn cannot keep Bella, who escapes from his loving clutches. Bella says “No” to guardianships.

“What inspires me most about Bella is her gargantuan appetite for life. She lives in a universe where everything is fascinating because she is in love with the idea of being alive. I hope to live this way more often. The good and bad experiences of life shape us and Bella does not judge these two contrary experiences, she moves forward“, highlighted Emma Stone.

What strangely underlines Bella’s freedom is her consent to prostitution. During her stopover in Paris, Bella is enthusiastic about this opportunity which combines financial benefits and pleasures of the flesh. She willingly opens up to this exploration of bodies and minds, although certain experiences suit her too little. Within the brothel, Bella simultaneously maintains a homosexual relationship with one of her colleagues. This relationship once again underlines the open-mindedness that punctuates his life. This series of experiences considerably develops the philanthropic fiber of the young creature.

Furthermore, the ending illustrates an unparalleled feminist revenge. Bella’s past comes to the surface. Her ex-husband (the one before the Baxter experiment) claims ownership over his wife – which is the very essence of incompatibility with Bella Baxter, if only for the events mentioned above. This surge of Victorian authority collides with Bella’s psychology, who does what she pleases and nothing else. This phenomenon is reflected in the costumes of the main character. Her clothes are voluminous: tutus, frills, pieces that do not compress the young woman’s rib cage. She breaks with traditions through her clothing.

The last scene of the film highlights a path to emancipation, through choices, but also through the sexual freedom of Bella Baxter and her interpreter. Emma Stone. THE poor creatures are ultimately the male characters who gravitate without satisfaction around Bella Baxter. The actress herself punctuated the amply feminist character of the film, especially for its epilogue:

TO INTERVIEW : “Do you think the film is feminist? Bella frees herself from the men around her who try to imprison her in a certain way, for me the ending is a revenge of the patriarchy towards her abusive husband.”

EMMA STONE: “What do you think ?“

ITW: “Yes, for me the film is!“

ES: “For me too !“

ITW: “For what reasons ?“

ES: “For all the reasons you gave.”