Lanthimos is too good for Hollywood

Rating: 10/10 (28 January 2019)

I'm glad people are finally seeing the appeal of Greek auteur Yorgos Lanthimos. His The Lobster only got a Best Screenplay nomination in 2017, Dogtooth was loved by some, and The Killing of a Sacred Deer went relatively unnoticed. Now we have The Favourite, a "deliciously nasty satire" with more Oscar nominations than I could ever expect of a film of such distinct vision.
Its characters bizarre and/or pitiful like only Lanthimos knows how and its comedy delightfully cruel, The Favourite also excels at production design, costuming, and photography. Lanthimos' presentation and keen eye for detail have been likened to the works of Stanley Kubrick and this is his Barry Lyndon, not only in terms of its authentic appearance.
In the year 1708, Queen Anne of Britain (Olivia Colman) is an absolute wreck, clearly unable to deal with the responsibilities of queenhood. At her side, and running the country whilst she is busy watching duck races and feasting, is Duchess Sarah Churchill (Rachel Weisz), also secretly the queen's lover. Sarah's down-on-her-luck cousin Abigail (Emma Stone, who has been called "menacing" in the role) arrives to work as a maid in Anne's court, eventually getting closer, much closer, to the queen and thus her lost nobility. Who shall be the queen's favourite?
As you'd imagine, the relationship between these three women is what fuels the film; there is as much love and sexuality going on as there is concentrated hate and jealousy. But Lanthimos has skillfully directed the supporting cast as well, including a beautifully foppish Nicholas Hoult as the scheming 1st Earl of Oxford. There are also bunnies, and lots of them.
The acting is nonetheless spectacular. I know not why Weisz and Stone are considered Actresses in Supporting Roles (one of these days I need to get my hands on the Academy's rule sheet), as they seem at least as important and brilliant as Olivia Colman, but at least one win is certain. Also recognized is the screenplay (though my vote for this category may ultimately go to First Reformed), and Lanthimos winning Best Director could happen if Cuarón gets unlucky this time.
And of course, it wouldn't be a just world (not that we necessarily live in such a place) if The Favourite wasn't also nominated for its striking camera work (by Robbie Ryan), convincing costumes, and authentic production design. Almost every shot in The Favourite resembles a painting from the century the film depicts. Like the costumes and sets of the aforementioned Barry Lyndon, everything feels lived-in and never comes off as fake.
Much of this is thanks to costume designer Sandy Powell (previously nominated for Carol and Hugo) and production designers Fiona Crombie and Alice Felton. But as others have observed, this may also be Lanthimos' most accessible and relatable film to date, heavy on timeless anxieties and emotions to which many a viewer can connect, though perhaps particularly women. It isn't as quirkily robotic as his previous movies, but his eccentric nature thankfully remains intact in some way.
Really, The Favourite has just about everything (I didn't even mention the classical, often wonderfully disturbing music). I'm just so glad Yorgos Lanthimos exists, okay? Even if he's too good for Hollywood.