The cinematic world is abuzz with anticipation as Yorgos Lanthimos takes on Ottessa Moshfegh's provocative novel, “My Year of Rest and Relaxation.” Known for his unique and often unsettling filmmaking style, Lanthimos seems a fitting choice to adapt Moshfegh's darkly humorous story about a young woman's year-long quest for oblivion through prescription drugs. With Margot Robbie on board as a producer and Emma Stone potentially leading the cast, expectations are high.
In a recent interview, Moshfegh shed light on her thoughts about Lanthimos's work, particularly his latest film, “Poor Things.” While she expressed admiration for his earlier film, “The Lobster,” Moshfegh was less enthusiastic about “Poor Things.” She highlighted her discomfort with the film's controversial narrative, which features Emma Stone's character, Bella, who has the brain of a child and explores her sexuality using her adult body.
Moshfegh's critique aligns with broader discussions sparked by the film's release. The Guardian's Zoe Williams questioned whether audiences would interpret the story as a fable about pleasure and constraint or view it through a more troubling, psychosexual lens. Lanthimos's approach to these themes is undeniably provocative, challenging viewers to confront uncomfortable questions without necessarily endorsing the depicted behaviors.
Despite Moshfegh's reservations about “Poor Things,” her future in Hollywood looks promising. Alongside Lanthimos's project, directors David Lowery and Andrew Haigh are also adapting her stories into films, signaling a burgeoning cinematic presence for Moshfegh's distinct literary voice.
As fans eagerly await the adaptation of “My Year of Rest and Relaxation,” slated to follow the completion of Lanthimos's current project “Bugonia,” the intersection of these creative powerhouses promises a fascinating exploration of narrative and visual storytelling. Whether through the lens of controversy or acclaim, the collaboration between Moshfegh and Lanthimos is sure to captivate audiences and provoke thought, continuing the ever-evolving conversation about the boundaries of art and cinema.
