Since her shock Oscar win for “The Favourite” in early 2019, Colman has appeared in films including “The Father” and “The Lost Daughter” and, among several other TV projects, one season of “Fleabag” and two of “The Crown.” And while at times in that latter series she seemed to be withholding her broad-ranging abilities towards the absurd, her willingness to go anywhere for a laugh, that suppression worked towards a sense of her character, Queen Elizabeth II, as duty-bound.
Susan lived her life in a vexed partnership with Christopher whom we see as better able to understand objective reality than his spouse — but also a loving enabler. We meet the couple years after the murder they’re eventually imprisoned for having committed, and follow them through a legal investigation that brings Susan to the edge, and eventually, past it. “I’m not fragile,” Susan tells investigators, in a black-and-white scene. “I’m broken, so you can’t hurt me.
All of this is more cerebrally interesting than it is moment-to-moment gripping. Colman’s fleeting moments of being able to see herself, and the longer stretches of denial, are wonderful to watch, as is the work being done in counterpoint by Thewlis. But the legal-investigation plotline lags . And the shifts between cinematic styles, novel as they are, seem ultimately like a flashy and complicated way to express that Susan was unknowable to herself.
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