Navigating the delicate balance between sexuality and storytelling in POVERE COSE

In the world of contemporary cinema, few topics ignite as much passion, thought and debate in people as the depiction of sex on screen. The recent film Poor thingshero Emma Stone and directed by Yorgos Lanthimosserves as an interesting case study in this ongoing conversation.

Based on Alasdair Gray’s 1992 novel, the film traces the fantastical evolution of Bella, a character resurrected to embark on a profound journey of discovery. Between critical acclaim and the excitement caused by the recent Oscar nominations, Poor things it has also garnered attention and controversy for its explicit depictions of sex, challenging both viewers and critics to question the necessity and impact of such graphic scenes in narrative cinema. Everyone I’ve talked to about the movie just wants to talk about the sex, but there’s so much more to the story.

One scene, in particular, was said to be too explicit for British audiences and was re-edited for its release, highlighting the film’s difficult reception. In a conversation with BBC Radio 4, Emma Stone defended the film’s bold approach, highlighting the integral role of Bella’s sexual experiences in her broader journey of self-discovery. Stone argued that the film’s depiction of sex, uninhibited and unashamed, was crucial to portraying Bella’s empowerment and exploration of life’s many experiences, from food and philosophy to travel and dance.

However, this logic raises an important question… If the intention is to highlight Bella’s emotional and intellectual odyssey, why risk overshadowing it with all the over-the-top graphic sexual content? The debate is not new as filmmakers have always grappled with the challenge of integrating sexuality into storytelling without detracting from the narrative’s central themes and character arcs.

In Poor things, the explicit scenes serve a narrative purpose, illustrating Bella’s liberation and unapologetic embrace of her desires. However, the intensity of these scenes sparked a dialogue that, for some, eclipses the film’s deeper exploration of identity, autonomy, and the human condition.

This insight reflects the tension within the film industry and its audiences. On the one hand, there is a push for more honest and unflinching depictions of human experiences, including the complexities of sexual relationships. On the other hand, there is a risk that such depictions could distract from the narrative, reducing rich, layered stories to their most sensational elements. Poor things challenges viewers to look beyond the surface and engage with the film’s thematic depth.

Emma Stone’s defense makes an essential point about the importance of contextualizing sex within the fabric of a character’s journey. However, the controversy surrounding the film highlights the delicate balance that filmmakers must find. As cinema continues to evolve, navigating this terrain sensitively will be crucial. The goal, after all, is to create stories that resonate on multiple levels, offering audiences a window into the complexity of the human experience without obscuring the heart of the narrative with its more provocative elements.