Nominations:
Best Picture
Best Director
Best Actress (Olivia Colman)
Best Supporting Actress (Emma Stone)
Best Supporting Actress (Rachel Weisz)
Best Original Screenplay
Best Cinematography
Best Production Design
Best Costume Design
Best Film Editing
Although The Favourite is set in the royal court of Queen Anne in the early 18th century, it is obvious that Lanthimos wasn’t interested in giving a history lesson when he was directing this film. The historical setting is merely a backdrop to the backstabbing, affairs, and power plays that unfold amongst the monarch and her consorts. While there are bits and pieces of real facts dropped in every now and again, they’re almost indistinguishable from the fictional parts. This serves to break down our own understanding of 18th century royal English culture until all we are left with is a submissive acceptance to the bizarre world Lanthimos draws us into.
I watched The Favourite before the nominations were announced, and it was pretty clear even then which Oscar categories it would find itself nominated in. Everything about it is visually stunning, in an extravagant, over-the-top kind of way. The editor’s use of long fades, the flamboyant period costumes, and the ornate set design all point directly to which creative minds would be getting nominated for which awards. But the most notable (and to a lot of people, confusing) technique is the use of fish-eye lenses that distort the corridors and rooms in Queen Anne’s royal court. Practically, this would have let the crew fit into confined spaces without narrowing the field of vision too much. Tonally, it unsettles us as viewers, purposely keeping us at a distance and reminding us that we’re not meant to feel at home in this environment.
The story is very much a character-driven piece, with each main character believing they are in charge of their own lives. Queen Anne, Sarah, and Abigail all go on parallel journeys, taking different paths to achieve different goals, only to come to the horrifying realisation that no matter how ruthless they act there will always be others ready to match them. What starts as petty digs evolve into full-blown murder attempts, and each development is a thrilling and droll affair that propels each character forward to their inevitable disappointment.
At the centre of it all is Queen Anne, portrayed by Olivia Colman as an ailing, childlike ruler who can barely manage a country let alone her own temper. While all three leading ladies desire love for their own purposes, hers is simply out of a fear of being left alone. Abigail’s affection for the Queen is a blatant grab for power, and although Sarah’s has a little more warmth to it, even her motives simply come from wishing to maintain her current prestige and lifestyle. The type of love they give Queen Anne reflects who they are as people. The Queen is torn between Abigail’s manipulative, sweet adoration that soothes all her deepest insecurities, and Sarah’s own intimacy that offers genuine, harsh truths. And similarly, Queen Anne’s final decision on which love she values more reflects a lot about who she is as a person as well.
The ensemble work in The Favourite is its strongest asset, and this has been recognised by all three leads achieving nominations in the acting categories. Even though Glenn Close pretty much has this year’s Best Actress award in the bag, Olivia Colman has a lot of strong support as well and could end up taking that Oscar home instead. As for Best Picture, The Favourite seems to be pretty well-loved across the board, but doesn’t quite have the passionate support of enough fans who would put it in their number 1 spots on the preferential ballot. In the end the film may end up winning a bunch of technical awards, but that might be the best we can hope for.
