Poor Things (2023), directed by Yorgos Lanthimos and based on Alasdair Gray’s novel of the same name, is a wild mix of gothic undertones, Victorian aesthetics, and quirky surrealism. Its unique visual and narrative style combines various influences, making it a film that resonates with different aspects of the gothic tradition while also defying easy categorization. So, what kind of goth styles do Poor Things embody?
A Fusion of Gothic Revival and Neo-Victorian Goth
At its core, Poor Things taps into the Victorian Gothic Revival aesthetic, which is rooted in the 19th-century fascination with decay, madness, and the macabre. This is evident in the film’s setting—a reimagined Victorian world that is both beautiful and grotesque. The dark, whimsical, and distorted portrayal of Victorian society in the movie hints at this traditional gothic revivalism but with a distinct modern twist.
In fashion and subculture terms, Neo-Victorian Goth captures much of the aesthetic of Poor Things. Neo-Victorian goths often adopt the intricate, dramatic clothing styles of the 19th century, while embracing a futuristic or dystopian edge. The film’s costumes, with their elaborate lace, corsets, and voluminous skirts, allude to Victorian style but are often exaggerated or surreal, which mirrors Neo-Victorian goth’s preference for combining historical and fantastical elements.
Gothic Romanticism Meets Absurdism
Poor Things also draws heavily on gothic romanticism, where intense emotions, fascination with life and death, and a longing for something beyond the ordinary are central themes. The film follows Bella Baxter (played by Emma Stone), a woman brought back to life by a mad scientist, exploring themes of rebirth, freedom, and self-discovery in a grotesque yet romantic setting. This blend of romance and the macabre is deeply gothic in nature, but Lanthimos infuses it with absurdism and dark humor, which sets it apart from the more somber and serious gothic tradition.
Gothic romanticism in Poor Things is not purely focused on doomed love or tragic endings; instead, it veers into the bizarre and surreal. The film’s playfulness and offbeat sense of humor give it a quirky gothic edge, reminiscent of works like Tim Burton’s movies, where whimsy and dark themes collide. It’s a style of goth that embraces weirdness, off-kilter aesthetics, and grotesque beauty.
Steampunk Inspirations
While Poor Things doesn’t fit neatly into one goth category, it does share some thematic and aesthetic similarities with steampunk goth, which blends Victorian aesthetics with futuristic, often mechanized elements. The film’s world-building features a twisted, surreal version of the Victorian era, with eccentric scientific experiments, strange inventions, and a skewed sense of reality. The blending of high-tech innovations with Victorian-era fashion and setting is a hallmark of steampunk, and although Poor Things doesn’t lean fully into this style, it shares some of its visual cues.
Theatrical Goth
Finally, Poor Things has a touch of theatrical goth, a substyle that embraces drama, exaggeration, and performance. The film’s exaggerated costumes, larger-than-life characters, and fantastical sets all contribute to a highly stylized, almost operatic experience. Theatrical goth often takes inspiration from literature, plays, and avant-garde art, which aligns with the film’s high-concept narrative and over-the-top visual style.
Frankenstein and Body Horror Goth Influences
Another strong influence in Poor Things is the theme of bodily transformation, reminiscent of Frankenstein and body horror. Bella’s resurrection mirrors Mary Shelley’s Frankenstein, a cornerstone of gothic literature. Her journey of self-discovery and rebellion against societal constraints is akin to the gothic trope of “the other”—a figure that defies convention and embodies the monstrous or the unnatural.
This element ties into the body horror goth aesthetic, which explores themes of physical transformation, alienation, and the grotesque. Bella’s rebirth and evolution are not presented in a typical gothic fashion of solemn dread but in an oddly playful and surreal context, adding a layer of strangeness to the more traditional Frankensteinian themes.
Conclusion: A Gothic MĂ©lange
Poor Things doesn’t conform to a single gothic style; instead, it’s a rich blend of several gothic subgenres. With its Neo-Victorian fashion, gothic romanticism, and touches of absurdism and body horror, it stands out as a unique piece of cinema that plays with dark, strange, and fantastical elements. Lanthimos’s playful yet unsettling approach to the gothic places Poor Things somewhere between traditional Victorian Gothic and modern, quirky, theatrical goth aesthetics, making it a distinctive contribution to the gothic canon in its own right.
While you won’t find Bella Baxter in a traditional goth club, her journey, look, and the film’s visual world embody the heart of gothic sensibility—rebellion, transformation, and a fascination with the dark and strange.