Priscilla

Sofia Coppola is gifted at capturing the interiority of her young female characters.

As Priscilla, Cailee Spaeny effortlessly spans her journey from wide-eyed adolescence to disillusioned young womanhood, while Australia’s Jacob Elordi... has no difficulty in evoking Elvis’s glamour.

It is fascinating and touches on some of the themes Coppola explores in this remarkable movie.

Coppola lets us ask ourselves where this life might have led without her wedding the 20th century’s biggest cultural icon.

Coppola isn’t a showy director – there’s never a sense that her ego is gatecrashing the story – but she is a distinctively empathic observer.

Coppola finds a way of telling that way without being in any way sensationalist, or overtly judgemental but allowing the audience to see... it's like a twisted fairy tale.

The movie never skews from Priscilla’s perspective at any given point, loyally upholding the authorship of her life story.

There was a void, endless and dark, in the comfort of Priscilla's existence. As well as love, disturbingly abusive yet enduring. And Sofia Coppola nailed all that queasy glamour and somnambulic psychosexual malaise to a tee.

A tender, poignant drama and an excellent continuation of her muted but no less intoxicating style. It shows Coppola at her most understanding as she presents a complex, multi-faceted love story where two lovers drift apart.

Graceland has long since been shrouded in a gauzy, almost impenetrable mythology, making it difficult to access the people who resided within it. Sofia Coppola manages to pierce through and let the darkness inside seep out.