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Film Review Of ‘Corsage’

Vicky Krieps plays the role of Sissi, also known as the Elisabeth Empress of Austria, the last historic royal woman to obtain biographical treatment in the last feature film of the director-director of the Austrian writer Marie Kreutzer .

Plus cynical viewers than me could only say that the feminist art films procession and high -end television on royal women being royally screwed by patriarchy – and rebel through business, sulk and energetic fashion choices – is a trend that takes place now, now post Spencer.

But wait, there are more! Another season of the crown is about to cover the juic and saddest songs in the history of Princess Diana in the United Kingdom. Meanwhile, European filmmakers are increasingly developing their own revisionist looks on the emblematic Lady Monarchs.

The bodice, playing in the certain strand of the UN in Cannes, although a late entry of the disused fee subcategory, undoubtedly one of the most interesting so far, much closer to the Queen Playful and imaginative of the genre, Marie Antoinette de Sofia Coppola (2006 (2006).

Lushly decorated and costumed, and anachronistic vigorous with its use of 21 -century pop songs, salty language, coarse and other gestures, there is a glance at the later life of the Empress Elisabeth of Austria, AKA “Sissi” (1837-1898), played by a properly royal and linguistic Vicky Krieps (Bergman Island, Phantom Thread), which speaks at least three languages ​​here, including Hungarian, and also takes an executive producer credit. In fact, Krieps would first have proposed the project of Austrian director Marie Kreutzer.

The previous characteristics of Kreutzer, like the ground under my feet and we were cool (which also featured Krieps), were more contemporary in their setting, focusing on modern women confronted with maternity stress or others Crises of life. But instead of trying to comply with the conventions of the period drama, Kreutzer finds in the wife of Bavarian origin of the emperor Franz Josef a woman with a very modern spirit which happens to be locked in a marriage of Nineteenth century.

Since the brilliance has already started to fade from her marriage and that her surviving children have above all grown, a bored and agitated sissi here is met 40 years old at the end of the 1870s. She is taken to travel without Stop in Europe, by visiting old friends and former lovers, throwing themselves enthusiastically into driving and other sports activities in order to appease his frustration of not having real political power. It is a very different portrait of the Sissi of German language films on her from the 1950s with Romy Schneider, more typically majestic of historical dramas which found in Sissi a goddess of fashion, just for this particular era.

Kreutzer’s script maintains a reasonably tight temporal focus on these few years in the life of Sissi. But with nothing particularly eventful in history, it is not clear why this period caught the attention of filmmakers apart from the fact that it was at this time that the Empress began to withdraw more from the public life and took a veil on her face. That said, in the last scenes, the film really makes melancholy evolve in the historical file, but to explain how exactly it would be to spoil it.

Kreutzer builds an episodic but convincing portrait of a disused woman, but one with enough stoic wisdom to know that since she bought the ticket, she could remain on the journey as long as she can. Like Diana the Princess of Wales, whose story will be a point of comparison for many viewers, Sissi is seen suffer from a diet of food caused partly by a world which considers it as an influencer, to use language Today, including the slightest change of hairstyle undulates in society. In fact, at one point, in the despair of a certain number of recent emotional shocks, she decides to hack most of her locks, causing a woman waiting to cry with despair of seeing what she considers her , not life, life, ruined work life.

Sissi is more a depressive rather than a narcissist or someone suffering from a limited personality disorder. Of course, she comes up against her husband, Franz Josef (Florian Teichtmeister), on his more frequent absences from the Court and the infidelities are both engaged. But there is still a strong sexual bond there, illustrated tenderly in a scene of room of room where the couple has the couple a quick blow of mutual masturbation in order to avoid an unwanted pregnancy. Being desired and considered beautiful is practically the only power that Sissi has, and as this power decreases, there is not much to replace it.

The administration of Krieps, amused, mine brings a strong feeling of intelligence to this role, and its own imposing physique perfectly transmits the regality of the presence of Sissi. The support characters are less well drawn, with the exception of Ida Ferenczy (Jeanne Werner), the sister of Sissi and the emotional support courtier, one of the few people with whom she can speak frankly and honestly. Their link echoes the nuanced representations of female relationships in the other works of Kreutzer.

Indeed, without making it a big problem, there is a strong feeling throughout the fact that the mainly female crew members meet to tell this story centered on women through the objective of female identity – DP Judith Kaufmann, mixing natural light and sunlight and anachronistic electricity Illumination challenge with style throughout, to the composer Camille, whose dreamy contemporary songs and Drifty add a charming atmosphere.

A special cries of costume designer Monika Buttinger, whose complex creations, especially Corsry, are so crucial for history. If something could make the face of pearls Veils a new accessory connected in 2022, it was Buttinher and the work of his team here that will.