It’s perfectly reasonable to assume that after ‘Elvis’ (2022), the extravagant and very lengthy biopic directed by Baz Luhrmann, there isn’t much left to tell about the King of rock and roll. In this sense, however, in the defense of the film Sofia Coppola Although he participated in the competition in Mostra, it must be said that his approach to the character is so different that it would have been very appealing if the director had not started working on him long before his predecessor existed. Suppose he perceives this as a rebuttal. If ‘Elvis’ treated the musician like a victim of his ‘manager’, the dreaded Colonel Parker, ‘Priscilla‘ argues that it is true victim Of all the inhabitants of Graceland, she was the woman he had fascinated at the age of 14 and then systematically abused by treating her, asserting his strength and masculinity, attempting to mold her to his liking. They had to fondle him several times, cheated on him with other women, and regularly subjected him to physical and psychological abuse before continuing on with his belongings and friends, until they divorced in 1973 after six years of marriage. . Yes, the clarity of their claims contradicts the following statements: indifference, and even his obvious negligence in exposing them.
The new movie, based on Priscilla Presley’s 1985 memoir, has a few other differences from Luhrmann’s. Does not include songs It is sung by King on the soundtrack because Elvis Presley Enterprises, which owns the reproduction rights to this catalog, had not authorized its use, and it is not a festival of light and color, but rather a series of scenes set in the shadows or in poorly lit areas, he suggests, because Priscilla’s world is so gloomy despite the glow of the golden cage in which she is imprisoned. But despite the latter, this visual metaphor is the only way Coppola uses to convey his hero’s pain. The director is right about not resorting to grandeur or portraying Elvis as a monster, but he can’t find alternative means to create dramatic intensity. “I wanted to show both the reality of this romance and the illusion built around it,” Coppola said at a press conference in Berlin today. demonstrations. Presley, who was not with him but was sitting in the front row among the journalists, added. “I didn’t leave him because I didn’t love him, he was the love of my life, it was his lifestyle that was hard for me to bear.”
The conclusion, in large part, from all that was said was this: recreation that ensures fairness of personality although in reality this is just one of the stories of sad girls trapped in the world of privilege that makes up the bulk of Coppola’s filmography. ‘Virgin Suicides’ (1999) stands out as his best film; ‘María Antoinette’ (2006), for being the bravest; and ‘Lost in Translation’ (2003) and ‘Somewhere’ (2010) – a triumph of this festival at the time – for being the most autobiographical; ‘Priscilla’ is perhaps the softest.
The Return of Hamaguchi
It was also presented at the competition in Mostra today, ‘‘There is no evil’ The first film released by Japanese Ryûsuke Hamaguchi after ‘Drive My Car’ (2021), earned him a definitive international award, among many other awards, in addition to the Special Jury Prize and the Oscar at Cannes. beautiful and hypnotic as well as strange and unpredictable work. At first glance, it looks like a story about capitalism’s abuses of the environment: Life in a peaceful town near Tokyo, which looks like a natural paradise, is threatened when a company discovers that it plans to open a store there. a ‘glamorous’ business for wealthy tourists. But as it progresses, it changes its tone and rhythm several times, and in the process becomes a poignant parable of nature’s generosity, but also of its indifference and brutality even to those who try to protect it. Even the most peaceful animals, including humans, have the ability to exercise when threatened.