Praise has been heaped ad nauseam on Poor Things. Lanthimos’ pristine direction, with his signature embellishments of morbid deadpan, has now taken to new heights with a whole world to play off of his usual tricks. With some of the best sense of pacing and mise-en-scène in modern cinema- provided by production designers James Price and Shona Heath. Stone's transformation into Bella Baxter, a career-high for one of Hollywood's best actresses– completely embodying the naivety, sexual agency, and sense of wonder and exploration of the character. The recognition is all deserved. It’s an ambitious odyssey to execute on screen, and every aspect of the production works in an oddball harmony to make one of the best films in a frankly stacked year for cinema. I’d argue what ties this all together is the music. Equally as weird but never veering to nonsense as the rest of the film, Jerskin Fendrix created his own marvel of an unconventional but enticing soundtrack– which when looking into his roots as an artist is no surprise.