The Favourite

The Favourite ★★★★½

I’m a firm advocate of the cherry on top, and in filmmaking plain icing and sponge just doesn’t cut it. To me, the sweetest cherry of all is that of the last shot; the closing take of imagery, the visual finisher that either does or doesn’t contextualise the film itself. 

Take Dr. Strangelove, a film surging with political satire much like The Favourite. With an ironically merry montage of the Doomsday Machine’s physical incarnation, its last shot serves as an explosive expression of the film’s subject matter. In The Favourite, Lanthimos’ last take gives us a similar effect. It stamps down the underpinnings of the story’s framework in a second, politely displaying its ethos for the audience before bidding us farewell. 

Olivia Colman, why do you always remind me of my mother?

Emma Stone, no one has ever looked so good shooting pheasants. Your agent needs to board the pay-rise train. 

Rachel Weisz, you rival Harvey Dent. You thought you could be an indecent lesbian in an indecent time.

A mesmerising trifecta of talent ground this film in comic tragedy, with eccentric performances from the entire cast throughout. With The Favourite you get three of cinema’s greatest contemporary actresses in a film by the most uncompromising filmmaker working today. It’s worth the price of three tickets.

“Some were born as blood, some without breath, and some were with me a very brief time.”

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