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Sofia Coppola’s heroines are surrounded by individuals and lonely as hell, enveloped in a cage seen solely to them. The Priscilla of Priscilla is perhaps the loneliest of all, from the film’s first moments. We meet her sitting alone in a diner, sipping a milkshake, a brand new lady in a brand new nation. She looks as if a woman who prefers solitude; she doesn’t, she tells her mom, need any new associates. The entire cause she meets Elvis Presley within the first place is that she’s visibly lonely. The rationale he provides her for wanting to maintain seeing her is that he’s lonely, too.

He’s not, after all; he’s Elvis Presley (Jacob Elordi), and he’s at all times attended by a pack of admirers, female and male alike. Superstar is lonely, however in surrounding himself with household and outdated associates, he’s bathed of their glow — and Priscilla’s, after all. He has to have her too.

Which is how Priscilla (a superb Cailee Spaeny), 10 years his junior and nonetheless in highschool, results in his residence, a princess in a fortress. Coppola evokes that metaphor clearly, letting Priscilla meander via Graceland’s opulence with an air of wonderment. It’s unattainable not to think about Kirsten Dunst in Marie Antoinette, wandering Versailles after her marriage to the dauphin. Neither are fish out of water — every feels a way of entitlement to be there, granted partly by their connection to a king — however they’re solitary and, in a way, trapped. Escape isn’t the objective. However the solitude quickly overwhelms.

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In fact Coppola, daughter of filmmaking royalty, resonates with this sense of set-apart solitude. It resurfaces throughout her work — the sisters of The Virgin Suicides, the sisters of The Beguiled, the bored new spouse of Misplaced in Translation — as a key to understanding one thing particular a few explicit feminine expertise. Her characters are ingénues, principally, younger girls who attraction to males for his or her magnificence and attraction however reside a lot richer inside lives than these round them suspect. Once they’re in a room, they’re not absolutely there — they’re observing all the pieces from some type of psychic take away.

Priscilla is probably probably the most excessive instance, as a result of whereas she shares probably the most DNA with Marie Antoinette, she has far much less company. She truly loves her king, and his absences ache her as a result of he’s all she has. Elvis is at all times going off someplace: again to America, out West, to shoot a film, to play a tour. He wants her at residence, “protecting the house fires burning,” trying fairly for the digital camera. What somebody tells Marie Antoinette close to the start of her movie applies equally to Priscilla: “All eyes might be upon you.” Her most secure place is in Elvis’s bed room.

However swept up by her star earlier than she even has the possibility to develop up, she is on the mercy of his whims, and he has a lot of them. His books. His images. His moods. His tempers. When he’s not there — or when he shifts away from her — she is left with out a lot to do. She will’t even sit within the yard and play together with her pet, lest the gawkers on the gates catch sight of her and switch it into tabloid content material.

Coppola’s expertise is in taking this story — a lot harder-edged when translated to Versailles — and giving it the rosy sheen of a woman’s reminiscence, of feeling the depth of a star’s rays on her so keenly that there’s nothing to do however indulge in it, a minimum of for some time. That sheen comes from the film’s supply materials, Priscilla Presley’s memoirs, which recount her years with Elvis the best way she remembered them. That’s the reason Priscilla will not be a “biopic” about Priscilla Presley; it’s a memoir. It’s a story instructed not about, however via its important topic.

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And that’s what makes it so fertile for Coppola’s rumination on solitude and loneliness. It’s the identical story that her different characters reside: a girl set aside someway from the world round her. The story by no means leaves her fairly the place it discovered her. She grows within the solitude. She is the trendy discoverer of an historic reality: that the ache of loneliness is accompanied by gaining knowledge and self-understanding, one thing that she may give to others sooner or later. In Coppola’s movies, that doesn’t at all times finish nicely; in Priscilla, it does.

There’s a humorous echo in Priscilla of Coppola’s Someplace, her uncommon movie with a person as its sole protagonist. Johnny Marco (Stephen Dorff), a dissipated film star, resides the rarefied loneliness of the celeb within the Chateau Marmont. He’s surrounded by publicists and pole dancers and events and he hates being bodily alone, as a result of that’s when he’s confronted with how hole he’s. It’s when his 11-year-old daughter (Elle Fanning) reenters his life that he begins to understand the distinction between being surrounded by individuals and really connecting with them.

Firstly of Someplace, he’s driving his sporty automotive in circles. On the finish, he drives his automotive in a straight line, instantly into the desert. We don’t know the place he’s going, however he appears to, a smile on his face for the primary time in a very long time. It’s a second of transformation.

Priscilla, too, lastly ends her time at Graceland, however solely after we see her subtly start to commerce Elvis’s world for her personal. She takes karate classes; she has a cocktail party with people who find themselves her associates, not his. She ventures, in different phrases, exterior the fortress, and realizes {that a} life exterior is what she desires. So she will get in her automotive, takes a deep breath, and drives straight out the Graceland gates, accompanied by Dolly Parton singing “I Will At all times Love You.” They’re comparable transformations, in a approach: progress, a brand new understanding of what issues in life. For Coppola, this can be a lesson taught in quietness, in separation from the hubbub.

So I suppose that it’s no marvel she makes films. It’s in her DNA, after all. However there’s another excuse, too: There’s no higher place to expertise the contemplative impulse, that quietness and solitude, a minimum of for a short time, than a cinema.

Priscilla is enjoying in theaters.