Greek director Yorgos Lanthimos, whose off-kilter thriller The Killing of a Sacred Deer divided and provoked us a year ago, brings us The Favourite, a wild dramatisation of the power games surrounding Queen Anne’s bedchamber in the early 18th century. It’s his first feature on which neither he nor his usual partner Efthymis Filippou is credited as a writer, and that might account for its liveliness compared to his previous work, which tends to offer significant downtime in which the audience can ponder what it’s seeing. The Favourite moves rapidly and fluidly, the shifting dynamics between Olivia Colman’s Queen Anne, Rachel Weisz’s Lady Marlborough, and Emma Stone’s Abigail Hill constantly exciting, with their plans always subject to change depending on who knows what about others. And on top of the intrigue, it’s really, really funny.
The Favourite offers us a brilliantly cast and even more brilliantly performing female trio, picking on a rare historical moment in which all the most important and influential people were women. (The men are all secondary, made physical jokes of, with their extravagant costumes and makeup outdoing the women’s.) Sex is always on the table and made to mean different things to different people: to Marlborough and Abigail it’s a tool to be used to manipulate and control the Queen, to whom it offers intimacy and emotional satisfaction she deeply craves and is allowed to feel she doesn’t deserve. The film doesn’t offer titillation, nor does it wish to shock or surprise with its depictions of sex or even the concept of the lesbian relationships. It’s actually quite remarkable how the film so casually avoids making it superficial and gratuitous.
We take our time to appreciate the cinematography, extraordinary wide-angle and occasionally fisheye shots that render characters, particularly the Queen, tiny playthings in a ludicrously ostentatious doll’s house. Mike remarks upon the way status is conferred by placing characters above and below each other and shooting at extreme angles to emphasise; José picks up on the costuming and its relationship to gender, mentioning in particular his admiration for Nicholas Hoult’s self-effacing, generous performance as Robert Harley, impressed by his willingness to make himself a feminised figure of fun.
There’s so much more we loved and we’re effusive throughout the podcast. And again. It’s a really, really, really, really, very very funny film indeed.
The podcast can be listened to in the players above or on iTunes.
Rachels Weisz and McAdams soar in this delicate, passionate, complex drama of social pressures and forbidden love. Set in the North London Jewish community, Disobedience tells the story of two women whose love for each other is reignited when one returns home following her father’s death.
Everything is rendered complex, nothing is simple. Weisz’s anger at having been cast out of the community, McAdams’ subjugation and repression into a way of life she doesn’t desire, and Nivola’s denial and ambition are all expressed deeply and combine in intelligent and subtle ways. José is spellbound by the depth of feeling from the very beginning; Mike feels the lack of context early on is disappointing, seeing the film’s clichés rather than its originalities. And we share a certain reservation as to the film’s visual qualities, Mike suggesting the Jewishness of the story is reflected in its understatement, but again there is complexity present in its aesthetic and we appreciate its coherence.
We also like the seriousness with which the film treats its setting, the lack of condescension with which it depicts Jewish ceremonies and customs, Mike in particular finding it exciting to see authentically represented all manner of occasions and nuances of English Judaism. And the synagogue’s choir sings beautifully.
Though we don’t agree on everything, we are deeply moved and find it an enriching film. It’s very much worth your time.
The podcast can be listened to in the players above or on iTunes.
A bit romantic, a bit surrealist, a bit dystopian, a tiny bit long. But very funny and imaginative and with some superb performances: Farrell does a great, kind of schlubby, almost anonymous everyman who nonetheless can’t get pushed beyond a certain point; even watching him walk is a joy to behold, combining both characterisation and theatre: he knows how to make the ordinary extraordinarily delightful. As to Weisz, she’s almost emotionally transparent, always also treading that line of ordinary/beautiful and thus gracing us all. They’re a joy individually and together. Farrell might not have remained in the A-list for long but he’s quickly developing into the star character actor of his generation. Ben Whishaw, Olivia Coleman, John C. Reilly and Léa Seydoux also appear and also make an impression, reminding one that it takes a lot of stars, from a lot of different countries, to get any kind of low-budget movie made today, particularly one as original as The Lobster.
The plot revolves around newly single people who are taken from their homes, institutionalised and given 50 days to find a new partner; if they fail, they get turned into an animal of their choice. Inmates can extend their stay by hunting down singletons living off the grid and hiding away. Their stay can get extended by one day per singleton shot. The single people also huddle in gangs and these are not without rules and restrictions either: no flirting, no coupling of any kind is allowed and the punishments can be terrible. There’s no place for single people or individual desires in this world and everyone in the city proper, where every singleton desires to return, has to carry documentation proving they’re in a couple or risk expulsion. The film gets very large laughs from its very low-key tone, restrained to the point of seeming recessive but punctuated by periodic bursts that embrace the absurd and that result in surreal and very funny explosions of the unexpected, sometimes including slapstick. There’s a moment where the Colin Farrell character kicks a child that elicited the same kind of disturbed laughter we get when the groundsman shoots the child in L’Age d’or. An extraordinary film.
The 3-D is piercing — I literally shrank away from it (it was very effective though not pleasant). The colour is the brightest and happiest I have yet seen on digital. I adore seeing what Rachel Weisz and Mila Kunis can do, even with roles so unworthy of their talents and their art. However, James Franco is the one with the meaty role and he makes the most of it: nobody could have captured the shabby, gauche, two-bit conman, kind-of-ladies man but too honest and goofy to be a lady-killer, sweet-but-not-innocent shyster of a wizard as well as he. He’s just perfect. Michelle Williams does better than anyone could possibly hope with that role (though, unless the intended look was mumsy, her make-up and costume people have done her no favours here). I love the doll character and Zach Braff voices the monkey with warmth and humour. The last scenes with the smoke and the face are superb. I liked it much more than I expected to.