In this chapter, I conclude this book by examining Lanthimos’s last (at the point of writing) film, the anthology film Kinds of Kindness composed of three films, before I propose roads for future research. Like his other films, Kinds of Kindness shows an intense awareness of form. In a typical BrechtianBrechtian way, we know nothing about the characters who are played in all three films by the same actors. We are thrown into three different cinematic universes, and we are asked to watch them critically. Performance is almost robotic, a recurring stylistic element in Lanthimos’s films. In Kinds of Kindness the characters speak slowly to each other, in a mechanical way deprived of emotions, while the camera always observes them behind doors or through door openings, in low angles or slightly distorted, curved long shots. In this way, camera work makes everything familiar and unfamiliar at the same time, while the characters are being observed, almost spied on, creating an uncannyUncanny feeling.