Here's Buz Luhrmann's anti-Elvis. Of course, right from the title it is the film's mirror image, but Priscilla is the other side of the coin not only for the choice of the protagonist and her point of view, but also for the directorial imprint of Sophia Coppola.

Those who know the cinema and the director's themes will not be amazed by how Sophia Coppola handles the subject Elvis/Priscilla. She is interested in the fact that Priscilla was a teenager at the time of meeting Elvis so that she could face the period of her life that fascinates her most.

Priscilla, like Marie Antoinette, becomes a queen in a golden cage. She is a little girl who finds herself in a world she doesn't know and which little by little she realizes she doesn't want. Her normality can no longer belong to her and boredom increasingly appears in her life where she can't even choose the color of her dress.

The director uses tight shots, often puts her protagonist in a corner and slows down the editing. The photography in dark tones only further demystifies the protagonists in a sort of nightmare of nothingness.

Passed into competition in Venice where the protagonist won, somewhat surprisingly, the Volpi Cup for best actress Priscilla is a work that fully reflects the poetics of its director which may please (a many) or be a little flat, as for myself.