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“Marie Antoinette” fans, this one’s for you! It certainly appears that Sofia Coppola channeled much of the same level of sensitivity and poignancy as she did in her Kirsten Dunst-starring film, at least according to Kyle Buchanan of the New York Times. In a short thread of posts on Twitter, he stated that, “With PRISCILLA, Sofia Coppola has made a 60s Americana version of MARIE ANTOINETTE and let’s hope you’re all on board with this one from the jump because it’s incredible.”
By most accounts, “Priscilla” will also feel like a breath of fresh air for those who were unable to get on board with Baz Luhrmann’s extravagant and over-the-top take on Elvis in 2022. According to IndieWire’s review by David Ehrlich, “Luhrmann’s spasmodic rhinestone spectacle may have finally served its purpose, as it now provides helpful context for a new film that another major artist has made about The King’s one-time queen.” He’s careful to note that he doesn’t feel this is one of Coppola’s best movies, painting it as “vague” and “scattered” and “gloomy,” but the largely positive review offers much more praise for what the filmmaker accomplishes regarding Priscilla’s tumultuous relationship with an icon as flawed as Elvis.
Hannah Strong of Little White Lies also observes the push and pull between Coppola’s film and Lurhmann’s: “If Baz Luhrmann’s 2022 musical extravaganza was a dazzling look at an American icon, ‘Priscilla’ is perhaps its foil: a melancholy fairy tale about first love and enduring mythology.” Rafa Sales Ross of IGN echoes these thoughts, praising Coppola for adding much-needed nuance to the movie’s complicated central relationship. “Going beyond the simplistic is exactly what Coppola does with her A24 production, which explicitly highlights this power imbalance without needing to define Priscilla solely as a helpless victim.”
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