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The Favourite
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The Favourite

It is evident that for Yorgos Lanthimos life is a competition, a race for the “affection” of the other. In his previous films he sought those skills in the family. Mahanati In The Favorite (2018), his most recent production, goes into an eighteenth-century British court, presided over by Queen Anne (Olivia Colman) and her friend Sarah Churchill (Rachel Weisz), to prove it. Understanding life like this has made his films portraits of winners and losers: here, in fact, the protagonists speak in those terms. The atmosphere of a court allows Lanthimos to do all those cruel investigations Soorma of which he is convinced that the human is capable, precisely because in the court one lives under those rules: all for the pleasure of the queen. And, as expected, this queen reigns nothing. The film begins by taking advantage of the imaginary of those monarchs who, surrounded by untimely people and their own agendas, become rulers only by title. Then, the situation turns around so that the spectator attends the resurrection of a new queen, while the arrival of Abigail (Emma Stone) shakes the plans of that other favorite of always, the character of Weisz.

Lanthimos has always been a director who does not believe in anyone but himself. His actors have always been only a tool to illustrate things. Bodied In this case, The Favorite is given a great luxury by deviating a bit from that trend, which allows the film to be considered as something more than a lapidary speech. Lanthimos finally believes in his actors, he distances himself from that desire to want to copy the “Bresson method” and allows them to be, to be there full of life. There are times when the director seems to be happy to do his work (contrary to what his previous films made us think) filming his three protagonists. It seems that he wants to enter the subject of his trades, in the ways of doing physical one or several feelings: sometimes with a simple smile, sometimes with a loving look or one of those “that kill”. The evidence is, for example, how to frame your cast. This time, First We Take Brooklyn Lanthimos leaves at last the pretense of being God and wanting to look at everything from the top down, like someone who has nothing to discover, and is encouraged to look up, to see his actresses from the bottom up. That small posture makes the film interesting (and bearable).

This is a movie of actresses. Lanthimos, however, does not renounce what he believes identifies him as an author: the rupture of space. From time to time he wears lenses that seem to fold the image, bring the rectangle of the screen closer to the shape of the circle, transforming the space into something else, I do not know exactly what. Hunter Killer It seems clear to me that these incrustations are made without any judgment: simply put them where they were best made, where they look “nicer” or “rarer”. In addition, his other “brand of style” is not going either, always leading the film to be a strange chronicle about a victory: who will be the favorite of the queen? The characters of Stone and Weisz do nothing but think about how to end the other. Additionally, there is the typical scene of Lanthimos where a woman hurts herself (and we see it in a plane without cuts) to get what she wants.

Duration: 120 min


IMDb: 7.9

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