Synopsis
A fictional account of one year in the life of Empress Elisabeth of Austria. On Christmas Eve 1877, Elisabeth, once idolized for her beauty, turns 40 and is officially deemed an old woman; she starts trying to maintain her public image.
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Cast
- Vicky KriepsEmpress Elisabeth
- Florian TeichtmeisterFranz Josef
- Katharina LorenzMarie Festetics
- Jeanne WernerIda Ferenczy
- Alma HasunFanny Feifalik
- Finnegan OldfieldLouis Le Prince
- Manuel RubeyLudwig II
- Aaron FrieszRudolf, Crown Prince of Austria
- Colin MorganBay Middleton
- Tamás LengyelGyula Andrássy
Recommendations
- 90
Variety
Full of odd glitches and deliberate flubs in period detail, the film feels like an invitation into a secret conspiracy to reach back through time and, with deft, irreverent 21st-century fingers, loosen the stays on Empress Elisabeth’s corsetry just a little. - 85
TheWrap
Ultimately, Corsage is a deeply sympathetic portrait of Elisabeth, enhanced by Krieps’ delightful performance. - 83
The Playlist
Corsage succeeds precisely by ditching the myth of objectivity in favor of portraying a woman eternalized by the glory and dolor of her imperfections. - 80
CineVue
Kreutzer employs a variety of subtle anachronisms – servants wearing modern glasses, a concrete wall here and there – to allow herself and Krieps the freedom to introduce a modern sensibility that sticks a middle finger up at the polished production design of most films of this genre as casually as Elisabeth does at the decorum of her courtly life. - 80
The Guardian
In many ways this is a study in anger, and it is an austere and angular picture. Krieps gives an exhilaratingly fierce, uningratiating performance. - 80
Screen Daily
Krieps is terrific in a role which depicts Elisabeth as both a victim of her gilded cage circumstances and a chain-smoking self-absorbed uber-bitch. - 80
Time Out
Kreutzer has her own style of revisionist feminist history, and aided by Krieps’s bold and brilliant turn, it’s riveting stuff. - 80
The Hollywood Reporter
Corsage . . . although a late entry to the disaffected royalty subcategory, is arguably one of the most interesting so far, much closer to the ludic, imaginative queen of the genre, Sofia Coppola’s Marie Antoinette (2006).
