The five-time Oscar winner, 84, expressed his admiration for his daughter Sofia Coppola’s latest film, Priscilla, on Instagram on Wednesday, following its favorable response at the Venice Film Festival on Monday.
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“I am more than proud of my daughter @sofiacoppola and excited by the reaction to the premiere of her film @priscillamovie receiving such a long standing ovation at the Venice Film Festival @labiennale this past weekend!” Francis commented in a promo for the film.
The crowd in Venice, Italy gave the movie, which is based on Priscilla Presley’s memoir Elvis and Me and stars Cailee Spaeny and Jacob Elordi as Priscilla and Elvis Presley, respectively, a standing ovation that lasted for seven minutes, as reported by Variety. (The A24 picture was granted a SAG-AFTRA Interim Agreement during the strike. This was due to the fact that it was shot in Canada by a studio that was not an AMPTP member.)
Alex Ritman of The Hollywood Reporter published a video on Twitter, which is now known as X. In the video, Priscilla, 78, can be seen wiping tears from her eyes as the audience cheers for her, along with Sofia, 52, Spaeny, 25, and Elordi, 26. Other people in the audience include Elordi, 26, Spaeny, 25, and Elordi.
Owen Gleiberman, the astute Variety critic, has bestowed high praise upon the film “Priscilla,” dubbing it “a piercingly honest drama” that delves into its subject matter with “meticulous docudrama authenticity.” The film, as Gleiberman points out, draws its inspiration from the book “Elvis and Me,” yet intriguingly, it adopts the simpler title of “Priscilla.” This choice, he suggests, serves as a subtle but significant indicator that the narrative will be singular, not a dual perspective as one might expect from a story about an iconic couple.
Coppola’s directorial prowess shines brightest when she trains her lens on the intricacies of fame, affluence, and excess without seeking to pass judgment or assign blame. As noted by Stephanie Bunbury of Deadline, Coppola’s films excel in their ability to keenly observe the world around them. It is this unvarnished portrayal of reality that is poised to make “Priscilla” a standout in her oeuvre.
Bunbury doesn’t mince words when she describes “Priscilla” as a searing examination of a man and, ultimately, a marriage. The Elvis Presley narrative is one that most are familiar with, a tale of unmatched stardom and its accompanying pressures. However, when refracted through the lens of his former wife, Priscilla Presley, it takes on a wholly new and intriguing dimension. It’s a narrative shift that promises to reveal untold facets of the Elvis legend.
In the role of Elvis Presley, we find Jacob Elordi, whose performance follows in the footsteps of Austin Butler’s Oscar-nominated portrayal in Baz Luhrmann’s “Elvis.” The juxtaposition of these two interpretations offers an intriguing opportunity to compare and contrast the cinematic depictions of this enigmatic icon. Olivia DeJonge, who starred as Priscilla in Luhrmann’s film, lends her talent to “Priscilla” as well, further enriching the exploration of the character.
In a world where biographical films often tread well-worn paths, “Priscilla” appears poised to carve out its own unique territory. With Coppola’s distinctive directorial touch and the fresh perspective of Priscilla Presley herself, it promises to be a thought-provoking and revelatory cinematic experience. As Owen Gleiberman and Stephanie Bunbury suggest, “Priscilla” is more than just a love story; it’s a deep dive into the heart and soul of an icon and the woman who knew him intimately, a journey that is bound to captivate audiences and ignite talks that will be had for many years to come.