Margaret Qualley, the rising star known for her captivating performances, recently opened up about her first encounter with the singular world of director Yórgos Lánthimos. Speaking ahead of the release of their latest collaboration, Kinds of Kindness, Qualley recalled being utterly stunned. 'The first film of Yórgos Lánthimos that I saw must have been The Lobster. I think that was actually the first time I went to a cinema to watch one of his movies. I got to know his work, and I was completely blown away.' Her revelation came during a conversation at the 2024 Cannes Film Festival, where she sat down alongside co-star Mamoudou Athie to discuss the film and their shared admiration for the director.

For Athie, the experience was similarly profound. 'Yes, The Lobster was also my first Lánthimos film. I went with some classmates, and we all looked at each other and said, “Wow, who is this guy?”' The two actors reflected on how Lánthimos's unique cinematic language—a blend of deadpan absurdity, clinical detachment, and unexpected tenderness—immediately drew them in. Qualley noted that after her initial discovery, she dove deeper into his earlier works, such as Dogtooth, which further cemented her fascination. She even brought her sister to see The Lobster again, jokingly covering her eyes during scenes with injured animals.

The Allure of Kinds of Kindness

When asked what attracted them to the project, both actors emphasized the irresistible pull of working with Lánthimos and the extraordinary ensemble cast. Kinds of Kindness reunites the director with frequent collaborators Emma Stone, Willem Dafoe, and Margaret Qualley, alongside newcomers Jesse Plemons and Mamoudou Athie. The film, a triptych of twisted fables, explores themes of control, devotion, and the bizarre rituals that define human relationships. Qualley described the opportunity as more than just a job: 'The chance to work with Yórgos, of course, and also with all these incredible actors. I was also really excited to tell the story of the film.' Athie echoed her sentiment, adding, 'Everything was absolutely incredible. You could only say yes!'

The film's structure—three distinct yet thematically linked stories—allowed each actor to inhabit multiple, often absurd roles. Qualley admitted that while some characters felt completely outlandish, hers had a certain tenderness. 'I don’t really know—some characters are totally absurd, but mine are also kind of tender in a way. They are full of hope. My situation in the first story is completely crazy, but in the others, it’s a bit better. At least, I think so.' Athie immediately chimed in with a laugh, pointing out that Jesse Plemons likely had the most challenging part. 'Jesse is certainly the worst… he must have had some very strange dreams!' Qualley agreed, noting she had to protect her sensitive heart while playing these roles.

Behind the Scenes: The Atmosphere on Set

One of the most memorable aspects of the production for Qualley was the respectful, almost reverential atmosphere on set. 'There was a lot of respect on the set. Everyone really wanted to rise to the occasion and give their best, which creates a very stimulating and enriching work environment.' She also shared her fascination with observing the working methods of actors she admires. 'Willem, for example, shows up first thing in the morning, even if he doesn’t have a scene until the afternoon. He’s already in costume, already in character, just to get the most out of the day. It’s so cool to see him like that. I probably wouldn’t do that every day, but it was a great opportunity to witness that.'

This dedication to craft is a hallmark of Lánthimos’s sets, where actors are encouraged to fully immerse themselves in the bizarre worlds he creates. The director is known for his meticulous planning and his ability to elicit deeply committed performances that walk the line between realism and absurdity. For Athie, the experience was like stepping into a fever dream. 'It’s a cliché phrase, but I like to say it’s like a delirious dream.' Qualley added that Willem Dafoe described it as feeling like being in the universe of Dogtooth, though she noted a progression. 'I would say there is an evolution and a certain sophistication that happens in Kinds of Kindness as well.'

Yórgos Lánthimos: A Director Like No Other

Lánthimos has become one of the most distinctive voices in contemporary cinema. Since his international breakthrough with Dogtooth (2009), he has consistently challenged audiences with his surreal, often dystopian narratives. His films—The Lobster (2015), The Killing of a Sacred Deer (2017), The Favourite (2018), and Poor Things (2023)—have earned him Academy Awards, BAFTAs, and a devoted following. What sets Lánthimos apart is his ability to blend visceral discomfort with dark comedy, creating worlds that feel both alien and hauntingly recognizable. His characters, often trapped in oppressive social structures or bizarre rules, navigate their realities with a strange earnestness that makes their predicaments all the more compelling.

In Kinds of Kindness, he returns to the more austere, minimalist style of his earlier works, moving away from the lush period settings of The Favourite and Poor Things. The film’s three stories—one about a man whose life is controlled by a mysterious employer, another about a policeman whose wife may be an imposter, and a third about a cult leader seeking a woman with the power to raise the dead—are vintage Lánthimos. They explore the perverse limits of devotion and the often absurd lengths people will go to for connection and meaning.

Margaret Qualley first worked with Lánthimos on Poor Things, where she played a secondary yet indelible role as a woman created by the brilliant Dr. Godwin Baxter. Despite its supporting nature, her performance caught the director’s eye, leading to a larger role in Kinds of Kindness. Her career has since skyrocketed, with roles in The Substance and as a Chanel muse. Athie, known for his work in Sorry for Your Loss and The Circle, brings a grounded intensity to the film, balancing the director’s trademark absurdity with raw human emotion.

The Continued Fascination with Lánthimos

The Cannes press conference also touched on the enduring appeal of Lánthimos’s work. Critics and audiences alike are drawn to his fearless storytelling and his ability to create cinematic experiences that linger long after the credits roll. For Qualley, that first viewing of The Lobster was a turning point. She recalls being initially confused, then captivated, and finally transformed by the film’s strange logic. 'It was like nothing I had ever seen before. It expanded my idea of what cinema could be.' Athie agreed, noting that Lánthimos’s films often require multiple viewings to fully appreciate their layers. 'Every time I watch one of his films, I discover something new. The details, the framing, the way he uses music—it all feels so deliberate and yet so free.'

As Kinds of Kindness prepares for its theatrical release on June 26, 2024, the anticipation among cinephiles is palpable. The film premiered in competition at Cannes, where it garnered a mix of praise and bewilderment—a typical response to Lánthimos’s work. For the actors, the journey has been one of mutual respect and creative discovery. Qualley summed it up best: 'Yórgos creates a space where you can truly explore your character without judgment. He trusts you, and that trust makes you want to give everything you have.'

With a career that continues to ascend, Margaret Qualley is clearly an actress to watch. Her partnership with Lánthimos seems poised to produce even more memorable work in the future. For now, audiences can revel in the bizarre, beautiful, and utterly unique world of Kinds of Kindness—a film that, like its director, refuses to be easily categorized.

Source: Vogue France News