Mo, 14/01/2019 - 16:51
Wenn du The Favourite mochtest, dann gefallen dir auch... Nach Dogtooth oder Alps - Filmen, in denen Geschwisterpaare oder Familien unter einem Dach kämpfen - durften wir mit Sicherheit keinen Kostümfilm von Yorgos Lanthimos erwarten, den meine Mutter im Kino goutiert hätte. Der griechische Absurdist findet im England des 18. Jahrhunderts einfach nur einen neuen Lebensraum für seine exzentrischen Dramen. Les Liaisons Dangereuses mal etwas anders... - If you liked The Favourite, you like it too... After Dogtooth or Alps - films in which siblings or families fight under one roof - we certainly couldn't expect a costume film by Yorgos Lanthimos, which my mother would have liked in the cinema. The Greek absurdist simply finds a new habitat for his eccentric dramas in 18th century England. Les Liaisons Dangereuses a little different... (Wir stellen nicht die Filme, nur die links zur Verfügung) (Bild: imdb)
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Sa, 02/03/2019 - 13:35
Earlier, earlier...
Hey Anisa, that's a good opinion, because it doesn't conform! Most DVD customers bring The Favourite back to me and say; "In the past, Lanthimos was better". Earlier, earlier...
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Do, 28/02/2019 - 11:17
The Favourite
The latest absurdist piece by Greek director Yogos Lanthimos plays with themes of intrigue, lust, humour and dreamscape. Olivia Coleman, Emma Stone, and Rachel Weisz form the trifecta that breathes life into this contemporary-tinted depiction of historical 18th century royal life. It is through their performances (especially Coleman’s) that keep the audience grounded amidst the absurdity and strangeness of the film.
Lanthimos continues to woo audiences through elements of farce, as portrayed in his earlier pieces such as Dogtooth, The Lobster and second-latest The Killing of a Sacred Deer. He masters feelings of discomfort in a facetious manner to create a theatrical display of (often) simple situations and the raw human psyche. The Favourite (along with his other features) gradually escalates the audiences emotions that often mimic the score and cinematography.
Turning to the performances, Coleman does not fall short of anything but flawless. Her unapologetic portrayal of the Queen strikingly resembles a sort of “Alice in Wonderland-esque” character, who is desperate, manic, and lonely. She craves attention from her beloved “number 1” (Weisz) who serves as the films grounded foil. Stone (Weisz’s cousin) steps in as the clever and charming, yet deceptive, Madonna who quickly wins over the Queen’s friendship in order to rise above her own circumstances- and as an “f@*! you” to her overly confident cousin. As relationships shift the characters’ emotions are heightened to a breaking point, ultimately releasing and air of tension throughout the film. From this point on, the audience is sucked into a feast of drama and delight.
All in all, Lanthimos does not miss a beat in terms of the aesthetic and direction of the film. But it is truly the actresses performances that deliver the brilliance of this feature.
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