PRISCILLA – Review by Susan Granger

In casting Priscilla, filmmaker Sofia Coppola (Lost in Translation, Marie Antoinette) chose diminutive 5’1” Cailee Spaeny to play the titular role; she’s visibly dwarfed by 6’5” Jacob Elordi as towering Elvis. Filmed for $20 million in 30 days in Toronto, the film hints that moody, controlling Elvis may have been sexually dysfunctional with a Madonna complex, although rumors were rampant that he had affairs with Ann-Margret, Nancy Sinatra, Connie Stevens, Rita Moreno and Linda Thompson – among others.

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PRISCILLA – Review by Diane Carson

Priscilla scrutinizes Priscilla’s and Elvis’ relationship. Solid but unexciting, writer/director Sofia Coppola’s Priscilla painstakingly anchors its story in Priscilla Beaulieu Presley’s relationship with Elvis. It begins with her high school days in 1959 Germany at the Air Force base where her stepfather and Elvis are stationed. Riding the roller coaster of their relationship, it concludes with her leaving Graceland in 1972.

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NYFF 2023: Female-Focused Wrap – Margaret Barton-Fumo reports

Women directors held their own at this year’s New York Film Festival, with impressive films in each of the fest’s coveted programs, from the Main Slate to Revivals. We’ll dip into each of these categories, singling out some of the lesser-known titles, in a women-focused overview of the fest. Starting off with the generally crowd-pleasing Main Slate, a number of women-directed features stood out (eight out of thirty-two, in fact).

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WEEK IN WOMEN: Sofia Coppola’s PRISCILLA is NYFF Centerpiece – Brandy McDonnell reports

Writer-director Sofia Coppola’s Priscilla will screen as the Centerpiece selection for the 61st New York Film Festival, making its North American premiere Oct. 6 at Alice Tully Hall at the Lincoln Center. Adapted from Priscilla Presley’s best-selling 1985 memoir Elvis and Me, the biopic stars Cailee Spaeny as Priscilla and Jacob Elordi as Elvis. Priscilla is a culminating triumph for Sofia Coppola, a filmmaker with a singular gift for illuminating the interior lives of her characters,” said Dennis Lim, artistic director of the New York Film Festival.

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New York Film Festival 2023: Female Filmmakers in Focus – Margaret Barton-Fumo reports

The New York Film Festival is set to return to the city with a packed schedule of international films. A little over one-fifth of the features this year are directed by women, with several standouts in the coveted Main Slate. Sofia Coppola’s highly anticipated Priscilla is one such feature, scheduled to be the festival’s “Centerpiece” screening. Many critics are eagerly situating Coppola’s film, which is based on Priscilla Presley’s memoir, Elvis and Me, as the femme-centric antidote to Baz Luhrmann’s bombastic rock ‘n’ roll biopic. All assumed comparisons aside, the subject matter is certainly well-suited to its director, given Coppola’s accomplished history of directing moody tales of alienated women.

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WEEK IN WOMEN: Sofia Coppola Takes on Priscilla Presley’s ELVIS AND ME – Brandy McDonnell reports

Oscar-winning writer-director Sofia Coppola is adapting Priscilla Presley’s best-selling 1985 memoir Elvis and Me into a feature film titled =Priscilla. The biopic will star Cailee Spaeny as Priscilla and Jacob Elordi as Elvis. In the 1980s, Presley’s book quickly became an international sensation as a chronicle of her passionate marriage to The King. She was just 14 years old when she caught the eye of Elvis, who was 24 at the time, during his military service in Germany. They married in 1967, and welcomed a daughter, Lisa Marie, before splitting up in 1972.

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ON THE ROCKS – Review by Diane Carson

Writer/director Sofia Coppola tackles recognizable, perplexing situations with observational skill. Through calm restraint that communicates volumes, she reveals complex characters who struggle with relationships. In her latest film, Laura slowly but surely begins to suspect that husband Dean is having an affair with his assistant. On the Rocks is quiet, restrained, and wonderful.

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ON THE ROCKS – Review by Susan Granger

Obsessed with the concept of monogamy/marital fidelity, writer/director Sofia Coppola conveys her smart, sophisticated, incisive observations about men, no doubt formed by the dynastic Coppola family and her first marriage to director Spike Jonze. On the Rocks revolves around a meddling father, his anxious daughter and a marriage that may or may not be falling apart.

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MOVIE OF THE WEEK October 23, 2020: ON THE ROCKS

On the Rocks feels a bit like what you’d get if Woody Allen and Wes Anderson made a movie together — only with a lot more feminine energy, empathy, and understanding. Sofia Coppola’s dramedy tackles modern marriage, motherhood, career uncertainty, and parent/adult child relationships with a light touch and strong performances from a talented cast.

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ON THE ROCKS – Review by Nikki Baughan

The reteaming of filmmaker Sofia Coppola and star Bill Murray is a tantalising proposition for the many fans of their previous collaborations, such as A Very Murray Christmas (2015) and, of course, Lost in Translation (2003). The two have developed an easy rapport over the years, with Coppola knowing how to let Murray’s charisma shine through without overwhelming everything around him; and that balance, together with the addition of the always-excellent Rashida Jones into the mix, makes On the Rocks a hugely appetising confection.

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