What we have our criticism, and their 10 nominations at the Oscars 2019 (the most nominated film alongside ‘Roma’ Cuarón) does not do, but rather refrendarlo: after the extravagance of ‘Canine’ and ‘Alps’, and his leap to Hollywood films with strange, but still outside the margins, as ‘Lobster’ and ‘The sacrifice of a deer sacred’, the Lanthimos is one more step in its careful integration in the industry without losing its cherished fame of outsider. And tolerable weirdness is rewarded with a flood of nominations that may be a gift poisoned.
‘The favorite’ is, awards aside, an indisputable point and apart in the race of Lanthimos. the For the first time in his career, working with a script that has not had a hand and which in addition has not participated in their buddy’s usual Efthymis Filippou. This script, written by Deborah Davis and Tony McNamara (and, obviously, also nominated, but to win would be the pair of award-winning most bizarre of recent times), I had a couple of decades of stumbling around in the offices of Hollywood until Lanthimos expressed interest in him. And as a finale, it is a period film, first in the work of a director who has always been expressed in contemporary terms.
By all is known the devotion of the Oscar movies of the era, that allows you to reward technical issues related to the setting (the photography, the costumes, the interpretations are affected) while, if applicable, recognize the merits of a director that, if it is sufficiently skillful, you can preserve the features of their author in spite of the corsets literal and metaphorical. In the case of Lanthimos, it is obvious that it does, and possibly that has called the attention of the Academy, to the same extent that the exquisite, ostentatious, excessive atmosphere courtesan ‘The favorite’.
Because ‘favorite’ is a film unequivocally Lanthimos. His vision of the human race is sarcastic and grotesque, although it focuses exclusively on the female gender. Are women, and in the end, with power, and that’s why they fall into the same ridiculous ambitions and passions slippery men. Lanthimos is back to not letting puppet head on its vision of how our social conventions (of racing ducks ballroom dancing) us a burden and tied standing hands, a discourse that has been developing -albeit with dyes previously bordering with the terror surreal – from ‘Canine’.
The problems of ‘The favorite’
does this mean that ‘favorite’ is going to sweep? We have a couple of precedents that make us think otherwise. The first is Golden Globes: out of five nominations, all very remarkable and well-deserved, it only took the award for Olivia Colman. Will have to see how to carry the BAFTAS in February, where ‘favourite’ is the most nominated film, with 12 categories, and where you can go out as a big achiever or as a rout without precedent.
The second obstacle is its direct competitor in the Oscars, ‘Rome’ of Alfonso Cuarón. If Lanthimos has achieved with ‘The favorite’ balance exquisite aesthetic and the stamp of the author, Cuaron has done a similar achievement, but much more accessible: aesthetically it is even more glaringly overdone that ‘The favorite’. For example, the work of the editor, Lanthimos, Giorgos Mavropsaridis, is remarkable, highlighting something as complex as the relations of power between the three protagonists.
But Cuarón, hiperexpresivo and ostentatious, put on the table a film visually captivating and much more easy to enjoy for its formal beauty.
The exquisiteness of the film Lanthimos is in the portrait to deform the life of the palace; Cuarón, in his aesthetic perfection. The Oscar doesn’t tend to reward the sarcasm: directly, tend not to understand it.
which makes me think… could it not be this one of those movies multinominadas that it seems that they go to the ceremony to be a disappointment? ‘Citizen Kane’, with nine nominations, a estatuílla. ‘The thin red line’, seven nominations, zero statuettes. ‘There will be blood’, with eight nominations and two statuettes. is Because we know that while good photography and period films like the Oscar, like something the less the risk and the breeching.
Is this a message from the Oscar Lanthimos? Interestingly, the other big contender to sweep the awards, it is a story not american, spoken in Spanish, and a director is not american… although with a style, a taste and few pretensions much more immersed in the industry. Por a lot of rarity involving ‘Rome’, Lanthimos is more dangerous: it is yet to be tamed. We’ll see if the Oscar to swallow that.
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The news Lanthimos is finally mainstream: ‘The favorite’ opt-10 Oscar (and possibly win none) was originally published in Espinof by John Tones .