Priscilla

There are always two ways to tell a story and Priscilla deserves praise for being a truly brave and autonomous movie, especially when Baz Luhrmann’s Elvis looms so large in the rear-view.

Make no mistake, this isn’t a flip reversal, not an account to sour a legacy.

This is merely a fair and honest reflection of another’s perspective and an opportunity for the audience to draw their own conclusions.

Sofia Coppola’s languid, deliberate and sumptuous aesthetic is a perfect fit for this story where a lot of the exciting stuff happens offscreen, merely highlighting the loneliness and sadness of this tale of the other side of fame.

Two immense performances stand tall at the heart of the film. Jacob Elordi is a riveting Elvis, drawing you to him like Priscilla is.

Without the flamboyance and caricature of Austin Butler (which was a perfect match for that movie) Elordi still carries the style, the personality, but also the vulnerability and sense of a man lost.

Cailee Spaeny matches him every step of the way in a role where she is, by design, someone who has to sometimes fade into the background next to the sheer star power of the icon.

Spaeny captures this across a wide swath of time, from teenage idolisation to a mother seeking a better life for her and her child. She presents wells of emotion whilst also showing why Elvis was so drawn to her.

It’s a methodical and slow-moving film made of glances, intimacy and little flashes of drama.

Similar to Spencer as a bold and marginally-controversial film that will rile some despite not over-extending its hand.

Elegant and expertly crafted.

⭐️⭐️⭐️⭐️