Corsage 2022

Directed by Marie Kreutzer Widescreen

Marie Kreutzer’s bold and subversive costume drama features an imperious Vicky Krieps as the restless Empress Elisabeth of Austria, struggling to break free from the restrictive confines of courtly life.

Aug 02

The Civic Theatre

Aug 05

The Civic Theatre

Austria In English, French, German and Hungarian with English subtitles
112 minutes DCP
M
Sex scenes, nudity & suicide

Director, Screenplay

Producers

Alexander Glehr
,
Johanna Scherz

Cinematography

Judith Kaufman

Editor

Ulrike Kofle

Production designer

Martin Reiter

Costume designer

Monika Buttinger

Music

Camille

With

Vicky Krieps (Elisabeth)
,
Florian Teichtmeister (Franz Joseph)
,
Katharina Lorenz (Marie Festetics)
,
Jeanne Werner (Ida Ferenczy)
,
Alma Hasun (Fanny Feifalik)
,
Manuel Rubey (Ludwig II, King of Bavaria)
,
Finnegan Oldfield (Louis Le Prince)
,
Aaron Friesz (Rudolf)
,
Rosa Hajjaj (Valerie)
,
Lilly Marie Tschörtner (Marie, Queen of the Two Sicilies)
,
Colin Morgan (Bay Middleton)

Festivals

Cannes (Un Certain Regard) 2022

Awards

Un Certain Regard Best Performance, Cannes Film Festival 2022

Presented in association with

Goethe Institut

“Phantom Thread star Vicky Krieps puts in a terrific performance as Empress Elisabeth of Austria, who is turning 40. In the Vienna of 1877, that’s basically considered over the hill. Famed for her beauty and figure, she instructs her staff to lace her bodice – or ‘corsage’ – ever tighter as gossips whisper that she’s put on weight. Writer-director Marie Kreutzer explores the contrast between her ceremonial public image and her personal desires in a film that would make a good companion piece to the recent Diana film Spencer.

This is a woman who is restrained not just by her clothing, but by the expectations of society. She has a complicated relationship with her husband, Emperor Franz Joseph (Florian Teichtmeister), but enjoys flirtations with several men as she travels to England and Bavaria. She visits hospitals in her finery, dispensing beautifully wrapped perfumed sweets to patients. As she watches a woman chained up and screaming, presumed mad, you can’t help wondering if Elisabeth might have been in that position herself, were it not for the accident of her noble birth…

The Favourite and Marie Antoinette also spring to mind when watching this formally unconventional story of an unhappy royal. But Kreutzer has her own style of revisionist feminist history, and aided by Krieps’ bold and brilliant turn, it’s riveting stuff.” — Anna Smith, Time Out