Priscilla Presley

Sofia Coppola’s films are suffused with the bittersweet inevitability of adolescence: a period of life that changes you irrevocably and comes with an in-built ending. Anyone who has studied History at high school knows the outcome of Marie Antoinette (2006). In The Virgin Suicides (1999), it’s right there in the title. This sense of languid doom has never been more apparent than in Coppola’s new biopic Priscilla (based on its subject’s own memoir, Elvis and Me (1985, with Sandra Harmon). We already know how this story ends – so the writer-director invites us to take the scenic route, emphasising texture and psychology over drama and causality.