Coming on the heels of Baz Luhrmann’s Elvis, Sofia Coppola’s Priscilla—which dramatizes many of the same events, this time from the perspective of The King’s teenage girlfriend turned wife, and just premiered at the Venice Film Festival—might seem like an intentional corrective. But as Richard Lawson writes, that isn’t really the case. Coppola, he says, “wants to honor a woman’s memories while also being clear-eyed about what were some pretty alarming circumstances. It’s a challenge she greets with measured insight; Priscilla is neither lurid nor sugarcoated. It’s a sensitive, if slight, look at a young woman rousing from a dream and confronting waking life.”
Elsewhere in HWD, Joy Press schmoozes with the producers of the Netflix comedy You Are So Not Invited to My Bat Mitzvah; Lawson reviews another buzzy Venice title, David Fincher’s The Killer; David Canfield chats with director Saverio Costanzo about another headline-grabbing Venice film, Finally Dawn; and Kenzie Bryant charts some of the fest’s greatest-ever aquatic entrances.
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