NEW YORK — “Poor Things” is a Frankenstein-esque fantasia about a young woman (Emma Stone) reanimated by a demented surgeon (Willem Dafoe), but the behind-the-scenes work that went into crafting the movie’s wildly warped world may be the film’s greatest act of mad science.
Though Yorgos Lanthimos’ earlier films — at least leading up to “The Favourite” — were more spare productions, “Poor Things” fuses all the tools of classic Hollywood filmmaking — grand sets, miniatures, sumptuous costumes — with subtler touches of modern technology. The movie is, itself, a Frankenstein.
Only the scars (not counting the ones on Dafoe’s elongated face) don’t show in the magpie design of “Poor Things.” The film’s style is rooted in an 1890s Victorian setting, but it expands surreally from there.
“We were looking at the Victorian era as if it had been written about in a sci-fi movie,” says Shona Heath, one of the two production designers on the film along with James Price. “We basically gave ourselves an open book to do what we wanted.”