Might the response that greeted MARIE ANTOINETTE in 2006 have been warmer if audiences at the time had the context of Sofia Coppola’s latest, PRISCILLA, which takes a similarly unconventional narrative and musical approach to a famous marriage? Both films are biopic-shaped containers for Coppola’s now-well-established thematic obsessions, with little interest in the details of history that fall outside that purview, making for one of the more direct one-to-one pairings we’ve done in some time. We kick it off this week with a discussion of the ways time has been kind to MARIE ANTOINETTE’s elision of history and narrowness of focus, how the anachronistic music and performances express the film’s rebellious spirit, and what exactly we’re meant to make of these bumbling teen royals. And in Feedback, a reader broaches another recent film for inclusion on our informal list of the best science-fiction of the 21st century, and in the process reopens our discussion of the many thematic nuances in AFTER YANG.

Please share your comments, thoughts, and questions about MARIE ANTOINETTE, PRISCILLA, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

Learn more about your ad choices. Visit megaphone.fm/adchoices