This chapter examines The Favourite and Poor Things. It discusses in what ways the films retain the filmmaker’s distinct cinematic uncannyUncanny language while becoming more accessible to wider audiences. The films, despite being described by many scholars, critics, and the wider public as his most mainstream works up to date, as the chapter argues retains its Brechtian uncanniness through not only an uncannyUncanny narrative but also an uncanny form, while Lanthimos uses BrechtBrecht once more in a different way. The narrative in The Favourite is arguably more conventional than the plots in his other films, but the film still combines the light and entertaining aspects with the dark ones, the classical and playful narrative cinema with the bold, anarchic, and at times pervert and subversive cinema. In the film the familiar becomes unfamiliar while the characters are perpetrators and victims at the same time. The narrative in Poor Things is textbook uncannyUncanny. The camera work in both films gives them an uncanny element that transforms the narratives through the extremely wide 10 mm lens or a fish-eye 6 mm lens. It is this sense of the weird that makes the films uncanny.