Yorgos Lanthimos’s exceptional and piercing attention to detail gives his film, The Favourite a rare quality. It’s upsetting but in a graspable and interesting way. It’s riveting but without the typical character arcs that makes a drama and comedy film entertaining. I want to dissect each aspect of the film to illustrate its beauty and charm. The air around Queen Anne, Lady Sarah, and Abigail is purposefully cold as Yorgos isolates each self from the other and from its own being. The costumes, music, and camera-work exist to elevate this tense and dense atmosphere.
Off the story goes, drumming a savage, naïve, and sometimes repulsive rhythm and you, the unfortunate witness, can’t not take your eyes away from it. The use of wide lens is a sensational approach to conveying a twisted attachment between the characters. But it’s versatile in the way it is shot. You see a close-up which is soon followed by an immediate and cutting wide-angle shot. So it’s crisp and keeps you on your toes throughout. Perhaps this is what keeps the actors on their edge too.
The film, overall, is a tough nut to crack. But it remains one of the greatest triumphs of cinema. With striking resemblance of its time, its world is suffused in such contemptible and realistic colors, so crucial and transformative that, no doubt, you won’t be able deny its realness and intimacy. The film keeps you in a continuous state of anticipation and concern. And the compelling and detached humor is generous and forbids you to make your own personal assumptions. If I am pressed to say one more thing about this film, I’d say that it exists to shock you into complete visual paralysis so that in every scene, before the next, you’re waiting for something to go terribly wrong. And that the acts of defiance in the film always surpass each other in their intensity and vigor.