---
title: "The Favourite"
year: 2018
kind: "film"
canonical: "https://film.one/film/the-favourite"
fi1m_id: "the-favourite"
imdb_id: "tt5083738"
tmdb_id: 375262
wikidata_id: "Q22001133"
fi1m_score: 87
critics_score: 90
critics_reviews: 16
published: "2026-09-16"
updated: "2026-09-18T08:38:02.908899+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Favourite (2018)

Directed by Yorgos Lanthimos · 2h 00m · MPA R · History, Comedy, Drama

## Identity

The Favourite

- **Canonical:** https://film.one/film/the-favourite
- **Type:** Film
- **Fi1m ID:** the-favourite
- **IMDb ID:** tt5083738
- **TMDB ID:** 375262
- **Wikidata ID:** Q22001133
- **Same entity:** https://www.imdb.com/title/tt5083738/, https://www.themoviedb.org/movie/375262, https://www.wikidata.org/wiki/Q22001133

**Fi1m score: 87** · Critics 90 from 16 reviews

*In a sentence:* Royal favour looks exhausting; we would settle for a chair by the door

> Yorgos Lanthimos makes royal rivalry funny and uncomfortable, with Olivia Colman giving the cruelty a human cost. The camera sometimes works too hard, but the three central performances deserve the attention.

## Synopsis

At the court of Queen Anne (Olivia Colman), Abigail (Emma Stone) seeks royal favour and finds an obstacle in Lady Sarah (Rachel Weisz). Lady Sarah is formidable, Abigail has ambitions, and Queen Anne’s ill temper makes attending to her a difficult business. The Queen’s vulnerability gives both women something to work upon as they compete for her attention. Gossip and manipulation turn private relationships into political business, with influence depending on who can get closest to Queen Anne. Abigail must negotiate the court’s snobbery while working out how to make herself wanted.

## Review

*The Favourite* is a funny, cruel costume comedy with enough feeling to make its quarrels matter. Yorgos Lanthimos makes royal favour feel dangerously personal: a change in Queen Anne’s mood matters to everyone around her. The screenplay by Deborah Davis and Tony McNamara keeps political manoeuvring close to the business of getting and keeping somebody’s attention. We recommend it for the performances and the spiteful pleasure of its dialogue, with a reservation about how insistently it advertises its strangeness.

Olivia Colman is the reason its nastiness remains bearable. Queen Anne’s petulance can be funny enough to make her pain seem like another nuisance, until the performance makes us attend to it. We laughed at her ill temper, then felt ashamed of how readily we had dismissed her unhappiness. Olivia Colman can make an unreasonable demand sound like a frightened attempt to keep someone close. That fear gives the rivalry a consequence beyond the satisfaction of watching somebody get the better of somebody else.

Rachel Weisz plays Lady Sarah with a certainty that makes opposition seem almost bad manners. Her authority gives Emma Stone something solid to push against, and Abigail’s watchfulness prevents the contest from becoming a simple exchange of insults. Emma Stone is particularly good at making calculation interesting to watch without asking us to applaud it. The pleasure comes from how differently the three women approach their struggle: Lady Sarah expects to prevail, Abigail looks for an advantage, and Queen Anne needs attention badly enough to make everyone nervous.

Robbie Ryan’s wide-angle cinematography is useful when it makes the court seem an uncomfortable place to inhabit, however grand the surroundings. It keeps the period setting from settling into a tasteful background for the dialogue. Some of that distortion is overinsistent, though, and we occasionally wanted the camera to leave the actors alone. With performances this alert to changes in status, the image does not always need to keep reminding us that something is wrong.

Fiona Crombie’s production design gives small acts of vanity grand rooms in which to flourish, and the scale helps make the quarrels ridiculous. Sandy Powell’s costumes add to that sense of people making an elaborate public display of themselves, even when their behaviour is embarrassingly childish. Yorgos Mavropsaridis edits the competing performances with enough room for the cruelty of a remark to register before the next exchange begins. The dialogue is brisk, but the film still lets us notice who has been wounded and who is pretending not to be.

Deborah Davis and Tony McNamara are good at giving malice a conversational ease, so the dialogue rarely sounds like a speech about power. Their weakness is repetition: another round of humiliation does not always tell us much more about these people. Across 120 minutes, a few exchanges feel like variations on a contest we already understand. Yorgos Lanthimos is too willing to prolong that sourness, although the actors keep finding embarrassment and need where a less attentive costume comedy might be content with rude words.

The useful surprise is how much feeling survives the mockery. A costume drama can make its people seem protected by their clothes and titles; here their need to be loved is often painfully obvious. That is why we stayed interested even when the power games began to repeat themselves. See it for the three women, and forgive the occasional camera flourish that distracts from them.

*Fi1m score 87, published 16 September 2026.*

## What the critics say

The reviews are uniformly positive about The Favourite, with praise centred on the three lead performances and Yorgos Lanthimos’s irreverent treatment of costume drama. Most critics single out Olivia Colman’s Queen Anne for combining absurd behaviour with pain and vulnerability, while Weisz and Stone earn praise for their handling of the court’s rivalries. The bawdy dialogue, visual playfulness and balance of cruelty with emotional depth draw broad approval, and several critics find this an unusually accessible film from Lanthimos.

The differences are mostly matters of emphasis: some reviews relish the coldness and backstabbing, while others stress the sympathy beneath the farce. Reservations are minor rather than evidence of a substantial split: Slant Magazine finds the denouement somewhat muted, while Vulture questions aspects of the wide-angle visuals and ending. Neither reservation seriously dims those publications’ enthusiasm for the performances or the comedy.

## Straight answers

**Is The Favourite worth watching?**

*The Favourite* is worth watching for anyone who enjoys sharp dialogue and cruelty with feeling behind it, and we scored it 87. Olivia Colman, Rachel Weisz and Emma Stone make the rivalry for Queen Anne's attention funny and uncomfortable at once. Robbie Ryan's wide-angle camera occasionally works too hard, and a few rounds of humiliation repeat themselves.

**How long is The Favourite, and what is it rated?**

*The Favourite* runs 2h 00m and is rated R by the MPA in the US. It is a history and comedy film.

**Where can I watch The Favourite in the US?**

*The Favourite* is available to rent from Amazon Prime Video and Apple TV from $3.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is The Favourite, and is it suitable for children?**

*The Favourite* carries a 15 certificate in the UK and an R in the US, and it is not for children. The cruelty is mostly spoken rather than physical, but the humiliation is sustained and the tone is adult throughout. Older teenagers who can enjoy spiteful comedy should be fine; the squeamish about unkindness rather than blood may find it wearing.

**How does The Favourite compare to The Draughtsman's Contract?**

*The Favourite* is the warmer and funnier of the two, while [*The Draughtsman's Contract*](https://film.one/film/the-draughtsmans-contract) is the more exacting and remote. Both use period finery and loaded conversation to show how dangerous it is to misjudge who holds power. Choose Lanthimos for performances that give the cruelty a human cost; choose Greenaway for carefully arranged images and a colder, more puzzling wit.

**What should I watch after The Favourite?**

After *The Favourite*, try [*The Draughtsman's Contract*](https://film.one/film/the-draughtsmans-contract) (1982, Fi1m 82): Period finery, loaded conversations and the danger of misunderstanding who employs whom. Then [*Dangerous Liaisons*](https://film.one/film/dangerous-liaisons) (1988, Fi1m 84): Courtship becomes calculated cruelty, with manners maintained well beyond any reasonable point; and [*All About Eve*](https://film.one/film/all-about-eve) (1950, Fi1m 90): Another contest for favour in which politeness offers little protection.

### Reviews we read (21)

- **Radio Times**, Emma Simmonds (★★★★★): The review calls the film a superb tragicomic take on Queen Anne's court that combines sex, skulduggery and human frailty with exhilarating irreverence. It singles out the moving performances by the three lead actresses and Lanthimos's outsider eye for loosening the corsets of heritage drama. [Read](https://www.radiotimes.com/movies/the-favourite-review-combines-sex-and-skulduggery-with-disarming-doses-of-human-frailty/)
- **The Guardian**, Peter Bradshaw (5/5): The critic praises the film as a spiky tragicomedy driven by three pitch-perfect lead performances. Colman is singled out as simply superb in combining pathos, cantankerousness and pain as Queen Anne. [Read](https://www.theguardian.com/film/2018/dec/30/the-favourite-review-olivia-colman-emma-stone-rachel-weisz-yorgos-lanthimos)
- **IndieWire**, Michael Nordine (A): The review hails it as Yorgos Lanthimos’ crowning achievement, a royal drama that is as tragic as it is hilarious thanks to its majestic triumvirate of lead performances. It praises the blend of period elements with the director’s idiosyncratic style. [Read](https://www.indiewire.com/features/general/the-favourite-review-yorgos-lanthimos-emma-stone-venice-1201998762/)
- **Evening Standard**, Charlotte O'Sullivan (90/100, inferred): The critic hails Olivia Colman's performance as divine and Oscar-worthy, the emotional heart of a film that is a riot of emotion. They single out how Lanthimos upends the conventions of heritage drama while delivering to-die-for one-liners. [Read](https://www.standard.co.uk/culture/film/the-favourite-review-all-bow-down-to-queen-olivia-colman-a4022396.html)
- **Slant Magazine** (3.5/4): The review notes that the film is more narratively coherent than Lanthimos’ prior work while still asserting his idiosyncratic worldview through a bawdy romp about court intrigue. It praises the satisfying middle act and memorable final shot but finds the denouement somewhat muted. [Read](https://www.slantmagazine.com/film/the-favourite/)
- **Empire**, Ian Freer (85/100, inferred): The critic calls the film weird, dirty but accessible, a perfectly performed and thrillingly made period picture. They single out the three pitch-perfect lead performances and Lanthimos' playful, physical direction for praise. [Read](https://www.empireonline.com/movies/reviews/favourite-review/)
- **The Independent**, Christopher Hooton (85/100, inferred): The critic finds the film consistently and relentlessly hilarious, a buffoonish pleasure right down to the sets and costumes. They single out the sensational script and the deadpan performances of the three leads for particular praise. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/the-favourite-film-review-olivia-colman-emma-stone-release-date-watch-trailer-a8590641.html)
- **Variety** (Critics Pick): The film is a savagely witty and stylish misanthropic baroque costume drama, the most accessible yet from Lanthimos, and a perfectly cut diamond of savage misanthropic baroque costume drama. It praises the finely executed, coldly entertaining entry with strong performances from the leads in a tale of elegant backstabbing. [Read](https://variety.com/2018/film/reviews/the-favourite-review-emma-stone-rachel-weisz-1202921600/)
- **The New Yorker**, Anthony Lane (80/100, inferred): The film is likely to leave viewers in good humor, bemused or amused, marking a friendlier turn for Lanthimos while retaining his mordant view of humanity. It praises the trio of lead performances, especially Olivia Colman's portrayal of Queen Anne as a survivor with sad courage amid grotesque elements. [Read](https://www.newyorker.com/magazine/2018/11/26/glamour-wit-and-cunning-in-the-favourite)
- **Los Angeles Times**, Justin Chang: The film is a splendidly wicked and almost indecently entertaining caustic swirl of a chamber epic, more pure devious fun than any other great movie that year. It singles out Olivia Colman's magnificent performance as the aching human centerpiece of the emotional triangle. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-the-favourite-review-20181119-story.html)
- **Sight and Sound**, Philip Kemp: The critic praises Lanthimos for putting his idiosyncratic stamp on the period costume drama through an alien, heightened viewpoint. Strong performances from Colman as the infantile Queen Anne, Weisz as the formidable Sarah, and Stone as the ruthless Abigail are singled out, along with the film's ribald, vicious farce and anachronistic elements. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/favourite-review-rich-ribald-royal-farce)
- **The Hollywood Reporter**, David Rooney: The critic calls it a fabulously entertaining tragicomedy and a must-see with sumptuous visuals, delectable wit, and rich performances from the three lead actresses. He singles out the complex, non-didactic portrayal of women navigating power in a divided political landscape. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/favourite-review-venice-2018-1138544/)
- **The New York Times**, A.O. Scott (Critic's Pick): The film is a wildly entertaining, bracingly cynical comedy of royal manners. It singles out Olivia Colman's sublime performance as Queen Anne for its contradictory mix of ridiculousness and humanity. [Read](https://www.nytimes.com/2018/11/21/movies/the-favourite-review.html)
- **Vulture**, David Edelstein: The critic finds it wonderful, nasty fun as a brisk period drama driven by machinations and a magnificent trio of actresses. He singles out the peerless performances, particularly Rachel Weisz and Olivia Colman, while noting minor flaws in the wide-angle visuals and ending. [Read](https://www.vulture.com/2018/11/the-favourite-is-wonderful-nasty-fun.html)
- **/Film**, Marshall Shaffer (10/10): The review calls the film a sublime send-up of royal power games, commending Lanthimos for depicting political intrigue through interpersonal rivalries with humor and insight. [Read](https://www.slashfilm.com/561327/the-favourite-review-nyff/)
- **HeyUGuys**, Linda Marric (5/5): The critic calls the film sharp, filthy and fantastically anarchic, praising its deliberately anachronistic take on the period comedy genre and its originality. [Read](https://www.heyuguys.com/the-favourite-review/)
- **Collider**, Perri Nemiroff (A-): The film is a highly entertaining, intoxicating and nasty escapade revealing the emptiness of unearned power and love. It stands out as a prime showcase for three powerhouse performances from Colman, Weisz and Stone, with gorgeous costumes and production design enhancing the wicked frolic through gossip, manipulation and snobbery. [Read](https://collider.com/the-favourite-review/)
- **The Playlist**, Jessica Kiang (90/100, inferred): The critic describes the film as deeply hilarious and fabulously entertaining, lauding its bawdy wit, three standout female performances and visual flair while noting its accessibility. [Read](https://theplaylist.net/yorgos-lanthimos-favourite-venice-review-20180830/)
- **The Wrap** (85/100, inferred): The critic finds “The Favourite” a nasty fun twisted historical farce that fits Lanthimos’ style of power games, with powerhouse performances from the three leads. Colman’s portrayal of the vulnerable Queen Anne is singled out as stealing the show. [Read](https://www.thewrap.com/the-favourite-film-review-emma-stone-rachel-weisz-olivia-colman-yorgos-lanthimos/)
- **Den of Geek**, Mark Harrison (4/5): The critic praises the performances of Colman, Weisz, and Stone in this raucous costume drama that blends sharp comedy with emotional depth. The lead trio's chemistry and the film's unsettling take on the genre are singled out for praise. [Read](https://www.denofgeek.com/movies/the-favourite-review-a-gorgeous-and-gobsmacking-tragicomedy/)
- **Eye for Film**, Anne-Katrin Titze (80/100, inferred): The review highlights the film's irreverent dialogue and striking use of space and visuals to explore power dynamics, singling out the three lead performances for particular praise. [Read](https://www.eyeforfilm.co.uk/review/the-favourite-2018-film-review-by-anne-katrin-titze)

## Details

- **Director:** Yorgos Lanthimos
- **Director:** Yorgos Lanthimos
- **Writer:** Tony McNamara, Deborah Davis
- **Cinematography:** Robbie Ryan
- **Editor:** Yorgos Mavropsaridis
- **Production design:** Fiona Crombie
- **Costume design:** Sandy Powell
- **Producer:** Ceci Dempsey, Ed Guiney, Lee Magiday
- **Cast:** Emma Stone as Abigail; Olivia Colman as Queen Anne; Rachel Weisz as Lady Sarah; Nicholas Hoult as Harley; Joe Alwyn as Masham; Mark Gatiss as Lord Marlborough; James Smith as Godolphin; Jenny Rainsford as Mae
- **Runtime:** 2h 00m
- **Certificate (MPA):** R
- **Release (the US):** 21 December 2018
- **Genres:** History, Comedy, Drama
- **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Nominee, 2018); [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Nominee, 2018); [Golden Globe Best Musical or Comedy winners](https://film.one/collections/golden-globe-comedy.md) (Nominee, 2018); [Golden Lion winners](https://film.one/collections/golden-lion.md) (Nominee, 2018)
- **Budget:** $15 million
- **Box office:** $96 million
- **Trailer:** https://www.youtube.com/watch?v=SYb-wkehT1g

## Where to watch in the US

- Amazon Prime Video: rent $3.99, uhd
- Apple TV: rent $4.99, hd
- Amazon Prime Video: buy $4.99, uhd
- Apple TV: buy $4.99, hd

*Checked 2026-09-16.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IS, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, SG, SI, TR, UA, US, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2019: Best Cinematography (nominated); Best Costume Design (nominated); Best Picture (nominated); Best Actress (won)
- European Film Award for Best Actress 2019: European Film Award for Best Actress (won)
- European Film Award for Best Cinematographer 2019: European Film Award for Best Cinematographer (won)
- European Film Award for Best Comedy 2019: European Film Award for Best Comedy (won)
- European Film Award for Best Costume Designer 2019: European Film Award for Best Costume Designer (won)
- European Film Award for Best Director 2019: European Film Award for Best Director (won)
- European Film Award for Best Editor 2019: European Film Award for Best Editor (won)
- European Film Award for Best Film 2019: European Film Award for Best Film (won)
- European Film Award for Best Hair and Makeup Artist 2019: European Film Award for Best Hair and Makeup Artist (won)
- European Film Award – People's Choice Award for Best European Film 2019: European Film Award – People's Choice Award for Best European Film (nominated)
- Meeting Point Europe Award 2019: Meeting Point Europe Award (won)
- Dorian Award for Film of the Year 2018: Dorian Award for Film of the Year (won)
- Grand Jury Prize of the Venice Film Festival 2018: Grand Jury Prize of the Venice Film Festival (won)
- Venice Film Festival 2018: Golden Lion (nominated)

## If you liked this

- *The Draughtsman's Contract* (1982), Fi1m 82: Period finery, loaded conversations and the danger of misunderstanding who employs whom. — [Fi1m page](https://film.one/film/the-draughtsmans-contract.md)
- *Dangerous Liaisons* (1988), Fi1m 84: Courtship becomes calculated cruelty, with manners maintained well beyond any reasonable point. — [Fi1m page](https://film.one/film/dangerous-liaisons.md)
- *All About Eve* (1950), Fi1m 90: Another contest for favour in which politeness offers little protection. — [Fi1m page](https://film.one/film/all-about-eve.md)
- *Ridicule* (1996): A court where a clever remark can matter more than competence.
- *The Handmaiden* (2016), Fi1m 85: Lavish rooms, competing schemes and women whose motives reward close attention. — [Fi1m page](https://film.one/film/the-handmaiden.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-favourite