Yorgos Lanthimos' Masterpiece.

Rating: 10/10 (3 January 2019)

Rarely does a film feature in my mind quite as this one did, raring for weeks for its arrival. Yet in the futures stead, this may stand a the one to define this decade. A hail to the Lesbians, a cry for mastery, a perfection in comedy, a masterclass in drama and what brings a director from auteur to master.
This film shall not be easily forgotten. I say this not lightly, but this possibly the best directed motion picture that I have ever seen. This is Yorgos Lanthimos' masterpiece, on par with the classics of bygone eras and delivering a new wave into the future of filmmaking. I believe for this film's influence to lay beyond one awards season, and be heard in the years to come, as two hours in which this enfolds is the greatest that film can be. It challenges normality, has strengths where others do not, and makes perfection of what it can.
The narrative, from full picture perspective was perfect. Perfectly paced, and I have never seen a film balance it's tones so incredibly. How they say: 'You'll laugh and cry' - well I did, and by god did I love it. Deborah Davis and Tony McNamara's screenplay is the years best, without a shadow of a doubt I can say this. Its characterisation os a momentous achievement that will be subject a great many analysis in video and book. Their perfect act structure is one of great pleasure and uniqueness, for I suspect that this film play over not 3, but 4 acts. If one were to watch this feature, and pay attention to its screenplay's structure, I think others would suspect it to be this way. This is a peculiar number of acts, but it plays to this films strength, making it more engaging, though some may say the end drags on a bit, I found it to be to my personal liking.
The direction of this film by the great Yorgos Lanthimos was his best, the years best, and among the best ever put to film. The best I have seen. His mastery over performances (Which I will get to later), over cinematography, over sound, over the physical look of the sets and costumes, it has his mark all over it. And by the day, does it come to fruition in an ablaze of glory. This film is distinct, yet its flavour its certainly more palatable than his other features, Lanthimos' strong flavour is unwavered in my opinion. While it is more accessible than his other films, it is simply more subliminal, that his fans would understand and normal visitors will not.
The performances were simply astonishing. Olivia Colman as Queen Anne was the best performance I have seen from any actor or actress for the entire of the 2018 film season. Her performance is enough to see this film on its own, her character was tragic, hilarious, deeply troubled, and yet a frightening reflection of what could happen to anyone. 'Stalked by tragedy' is one way she is described, and while I will not quote historical facts which are spoilers, her character was far more compelling than I had expected her to be, thanks mostly to Colman's performance. Her acting prowess is surely on course for great honours in the weeks to come.
Rachel Weisz was Sarah Churchill the Duchess of Marlborough, (Who is actually related to Winston Churchill), was incredible. Her characters command over scenes, even ones where she is in loss, cruelty or evil, is a control over the screen that is formidable and unforgettable. In particular the shooting scenes, the hot chocolate scene and her and Annes final scene (Not a spoiler), they were portrays of perfect chemistry, perfect acting, on levels that were scarcely see a few times a decade. Could there be anything more grand, more gorgeous than this performance, a perfect portrayal of all the worse sides of aristocracy, and of a manipulative friendship, one that is a vie for power, for control, to be the favourite.
Emma Stone as Abigail Hill was I think, her best performance to date. Though it was only this films third best (in my opinion), it was etherial, stark, incredibly well layered and portrayed. The fact that it is only this films third best, as is still of such a level, goes to show the caliber of this feature. I found for her portrayal of arrogance to be the part to discern the most from the others, but truly this is an amazing performance.
The rest of the cast was also stellar. Nicolas Hoult in particular was a welcome addition, as well as the rabbits. The rabbits represented so much more than cuteness and cuddliness, they were love, fear, hate, depression, gout, and a cruel past all rolled up into little bundles of fun. This film wouldn't be the same without the rabbits.
The Cinematography was astounding to say the least. I had heard that cinematography Robbie Ryan had stated that Yorgos Lanthimos was basically the director of photography. And this does show, its his mark which is most present, in its sweeping left to right turns, and specific colour palette (Mostly browns and greys in this feature) it is pure Lanthimos, as most of his films follow a two colour palette in most of their composition. The use of natural light was also well chosen, highlighting light and dark, the duality of people, very excellent things most normal viewers do not notice on first viewing. The shot design was unique, more so than other Lanthimos films. The use of Panavision super-wide shots was great, really fun. And his signature angulation of not showing faces is toned down in this film, but is modified in certain ways and is just as strong and unique as his other films.
The set design was remarkable, mostly shot at and Hatfield House, it feels more immersive than any other film set in this period. Everything felt real, despite the small budget. The costumes, just give them an oscar. They were easily the years best, and I would say on the level of the best this side of 2000. On the level of The Lord Of The Rings, they never faltered, and were highly suited, pure eye candy. The makeup and hairstyling were also of the highest quality, also the years best. They were messy, fun, outrageous, immersive, all the marks they aimed for were hit. a perfect shot, not a beat missed. These factors all weighed in, especially the wigs and 'Badger' looking makeup are what historically sold the time period, as well as supplementing the narrative, setting the greatest backdrop for Lanthimos' direction.
The Sound was also a notable factor. Rather more immersive than I had imagined, ever book thrown, tea cup set, and step taken is accounted for. Adding to eeriness, love, endearingness and fear of every scene. Also it subliminally sets one into he film more comfortable, making one notice their own surroundings less, it was highly clever and well executed.
On the weaker side, there was a momentarily feeling I had during the first act that it wasn't all clicking together as well as I had though, however by 20 minute this feeling had passed. Especially since this film has perhaps the strongest second act in the film this side of 2000. Many contemporary films weaken and lose pace in the second acts, but this actually maintains it's trajectory more strongly than anything made during my own life time (That I have seen).
Finally, in the end: This was, I can say with confidence,the best film of the year. Everything, as a final product, fitted together so supremely. This is one for the history books and sets Yorgos Lanthimos' name into stone. For its portrayal of love is so intimate, and truthful, yet subliminal and as all lanthimos features do, sets more questions than it answers. It is now down to the viewers to decide what they thought of its questions, and in that, it is true cinematic perfection. Also classic Lanthimos weird dancing is present, which is always a treat. 5/5