A radical reinterpretation of a pivotal year in the life of the illustrious Princess Sissi, whose portrayal as a chronically depressed manipulator struggling against social expectations adds a captivating layer of complexity. The deliberate inclusion of anachronistic elements, such as diegetic pop songs and contemporary props like fire extinguishers or plastic buckets, raises intriguing questions about the timeless nature of women's issues. Perhaps it suggests that Sissi possessed a sensibility that defied the conventions of her era. While this gimmick may erroneously draw comparisons to Coppola's Marie Antoinette, the film distinguishes itself through its subtle and austere delivery. Although not particularly fond of this style of directing, I found the film to be overall satisfying, albeit lacking a lasting impression.

Viki Krieps is brilliant. Sissi as a real-life person, in stark contrast to the Romi Schneider fairytales.

For some reason, I expected it to be something like The Great, the Hulu series. I just wished it had more playful moments, like when she looked at the camera.

Like influencers with filters on Instagram, this the story of a woman realizing she's no longer pretty enough to get away with everything. This semi-biographical movie about Empress Elisabeth (Sissy) of Austria is interesting thanks to its framing of the empress's life with cinematography constructed to look like paintings. Also in the film's favor are the anachronisms: "Help Me Make It through the Night" (Sammi Smith) and the Rolling Stone's "As Tears Go By" are performed as if they were contemporary to the time, the end of the movie isn't historically accurate, and the actors sometimes interact with the modern world (a scene shows Sissy and her entourage entering a building through metal scaffolding covered with plastic)... Is it parsimony? Laziness? Art? Who cares because it's fun and helps keep the period piece interesting. The problem I have with the movie is that it's like an igloo with no doors. It's filmed so coldly that there's no way to get into the movie to care about its protagonist who needs somebody to care about her. Corsage is like Coppola's Marie Antoinette on downers. You'll go for the directing and stay for... the rest, maybe?