Ever since I watched Yorgos Lanthimos' The Lobster several years ago, I have had equal levels of admiration and flabbergast towards his movies. He's a mad genius. I love it and yet I love hiding behind my pillows for it. At last year's BFI London Film Festival I reviewed The Killing of a Sacred Deer and it both thrilled and terrified me. This year, Lanthimos returned to the Festival with three actresses of Hollywood royalty: Emma Stone, Rachel Weisz and Olivia Coleman (the latter two previously in The Lobster) star in this dark comedy and sharp period drama. Lanthimos has toned down his downright weirdness (we're getting more mainstream!) - so say goodbye to Colin Farrell being a robotic creepily normal guy and hello to royal society's weirdest love triangle. It's his funniest and most impressive piece of work to date.

Meet Queen Anne - a real queen, this is sort-of based on true events - played by a phenomenal Olivia Coleman. (I'm going to say this now; Coleman fully deserves an Oscar.) She's mostly bedridden, gout-stricken, a little bit frail and a lot eccentric. She rules half-heartedly, often bullies the court and can be easily manipulated (more on that later) but much of this stems from the sadness of losing seventeen children, all of which Coleman manages to capture delicately and magnificently. Her most trusted adviser/lover is the scheming and strong-minded Sarah Churchill, the Duchess of Marlborough (Rachel Weisz), who has the Queen firmly under her thumb until her cousin Abigail (Emma Stone) comes to town. Abigail is pursuing a self-made rags to riches story, an ostensibly sweet and helpful character trying to make a living and re-climb the social ladder.


But hold up! Where's the psychological thriller twist, the Psycho moment? Fear not (or do fear) - Lanthimos's stamp of eerie strings are never too far away. We soon realise that Stone's Abigail will literally do whatever it takes to get what she wants and thus the battle to be Queen Anne's 'favourite' begins. It's a battle of wit and manipulation and leg-rubbing bedroom tactics. Throw in some political in-fighting that allows Nicholas Hoult to shine as the wigged-and-powdered court jester/serious politician Robert Harley, alongside Joe Alwyn as Abigail's love interest and political somebody Samuel Masham, and there's a feast of absurd but truth-based aristocratic drama you simply cannot take your eyes off.

Despite entertaining turns from Hoult and Alwyn, this is a film very much centred on the leading ladies. Just two years ago, Emma Stone added a sweeping collection of trophies to her mantelpiece for La La Land, and this is an award-worthy performance yet again. It may not an obvious casting choice, but Stone's pitch perfect English accent is Renee Zellweger good (on a scale of Zellweger to Hathaway) if not better. The character may be annoying but wide-eyed Stone reveals each layer of survival instinct like a pro. Then we have the clever, calculated Duchess Sarah who is brilliantly blunt with her own motivations (her husband Lord Marlborough is out leading Britain's war with France) - Weisz does not put one foot wrong. And of course, future Oscar-and-everything-else winner Coleman. Who better to play such a complex character? An actress who can clearly handle both drama and comedy simultaneously by the bucketful; you may have forgotten her role in Peep Show but she proves her comedic timing is still faultless.

The film further explores female relationships, the never-ending fight for status and power, the difficulties of being female in a patriarchal society...themes not constrained to the 1700s. Yet, here are three flawed but fierce women who can all put up a hell of a fight; the characterisation is one of the many triumphs. Lanthimos may not have personally written the script but The Favourite nonetheless serves as an examination of society with his non-conventional and dissecting signature all over it. The costumes are colourful and superb whilst the cinematography is filled with wonky but effective angles that sweep across the palace interiors (we never really venture out of these four walls) with the unexpected addition of fish-eye that'll make you feel a tad claustrophobic. There's no shortage of the slow-mo ridiculous too (think throwing fruit at naked people, just cos).

Watch The Favourite if you're after something unique. You'll be treated to some social commentary and some home truths about the dark side of human motivation, the most unusual history lesson least likely to ever be shown in schools, and three of the most polished and powerful performances of the year. All hail Queen Coleman!

The Favourite is in UK cinemas on 1st January.