The filmâs first part, âThe Death of R.M.F.,â follows a man named Robert (Jesse Plemons) whose entire lifeâincluding his meal times, ability to have a child, and even his homeâs security codeâis controlled by his boss, Raymond (Willem Dafoe). The two charactersâ houses illustrate their dynamic: Robertâs ranch home is perfectly contemporary, the stylish ideal of a millennial family home, but it is absent of the personal idiosyncrasies that a man who cares to make his own choices might put in place. By contrast, from the exterior alone, Raymondâs 18th-century home makes it clear that heâs distinguished. Inside, itâs full of distinct touches selected by Gasparro and his team to make it clear that heâs a highly discerning man. The main living space, which Gasparro crafted as a space for Raymond âto hold court,â features a mix of antiques, including a massive Biedermeier sofa, some modern pieces, and artwork by Julian Schnabel.
âR.M.F. is Flying,â the filmâs second part, follows Daniel (Plemons), a man whose wife, Liz (Emma Stone), doesnât seem like herself when she returns home after being lost at sea. With wood paneling, a normal amount of clutter, and a humble stained glass panel in the window, the coupleâs house provides a humdrum backdrop that foils the disturbing events that take place inside. Lanthimos hoped to work with natural light more in this film, compared to the studio-based Poor Things, and the primary bedroom, with two huge windows framing the bed, gave the director the ability to do so.
