{"id":1888,"date":"2019-01-23T15:12:41","date_gmt":"2019-01-23T14:12:41","guid":{"rendered":"https:\/\/www.senses.se\/en\/review-the-favourite\/"},"modified":"2025-05-09T18:25:54","modified_gmt":"2025-05-09T16:25:54","slug":"review-the-favourite","status":"publish","type":"post","link":"https:\/\/www.senses.se\/en\/review-the-favourite\/","title":{"rendered":"Review: The Favourite"},"content":{"rendered":"

The Favourite<\/strong> is the latest film from Greek director Yorgos Lanthimos<\/strong>, a filmmaker renowned for his distinctive style. I greatly appreciated The Lobster<\/a> starring Colin Farrell<\/strong>, released in 2015, and I also admire Dogtooth<\/a> from 2009, the film that initially brought Lanthimos international recognition. This review concerns his newest work following The Killing of a Sacred Deer<\/a>, which premiered in 2017. Lanthimos maintains a prolific output, but in this instance, the film feels somewhat deflated.  <\/span><\/p>\n

The Favourite<\/em> is set in the early 18th century, during a period when England is at war with France. The English throne is occupied by the frail, somewhat bewildered, and rather immature Queen Anne (Olivia Coleman)<\/strong>. Queen Anne is demonstrably incapable of managing her own affairs, let alone governing an entire nation. Consequently, her close confidante, Lady Sarah (Rachel Weisz)<\/strong>, effectively rules the country while managing Queen Anne’s well-being. The arrival of Lady Sarah’s relative, the young and attractive Abigail (Emma Stone)<\/strong>, precipitates a crisis. Abigail harbors ambitions that she intends to realize, and it soon becomes evident that alliances are fragile.  <\/span><\/p>\n

It appears that Yorgos Lanthimos is encountering a challenge similar to that faced by Tim Burton<\/strong>. When a director cultivates a singular style, the pressure can mount to produce films that conform to audience expectations of their work. Similar to Tim Burton’s recent films, there’s an attempt to replicate the established aesthetic, but it detracts from the overall subtlety. This is also evident in The Favourite<\/em>. There are unconventional camera angles employing fisheye lenses, and a deliberate effort to recapture the precise comedic equilibrium found in The Lobster<\/em> and Dogtooth<\/em>; however, these elements feel somewhat forced. The narrative lacks emotional resonance, and the script progresses linearly without achieving the depth characteristic of Lanthimos’s earlier work. Despite a relatively short interval since his previous film, The Favourite<\/em> feels somewhat hurried. Critically, the conclusion feels anticlimactic, which is disappointing.  <\/span><\/p>\n

Olivia Coleman<\/strong>, who previously appeared in The Lobster<\/em>, delivers another exceptionally strong performance. Her portrayal of Queen Anne balances vulnerability and humor in a compelling manner.  <\/span><\/p>\n

Rachel Weisz<\/strong> maintains a youthful presence. Having followed her career since The Mummy<\/a> in 1999, I can attest to her consistent talent. Her depiction of Lady Sarah is skillfully executed, maintaining an ambiguity that keeps the audience guessing. The dynamic between Rachel Weisz and Olivia Coleman is particularly effective.<\/p>\n

Emma Stone<\/strong> portrays Abigail. While her performance is competent, she seems less integrated into the character compared to her co-stars. She remains recognizably Emma Stone, rather than fully embodying Abigail.<\/p>\n

In conclusion, I approached The Favourite<\/em> with high expectations, hoping for a film akin to The Lobster<\/em> or Dogtooth<\/em> \u2013 a truly unique cinematic experience. While the film is not without merit, featuring strong performances and capable direction, it lacks the distinctiveness required to elevate it above other period dramas and establish it as a noteworthy addition to Yorgos Lanthimos’s filmography.<\/p>\n