Film and television: Jacob Elordi’s Elvis casts a darker hue on a tale of true romance

Priscilla paints a darker picture of the rock legend than the hip-swivelling superstar in last year’s Baz Luhrmann biopic

Cailee Spaeny and Jacob Elordi in Priscilla: his character has a disturbing note of cruelty and corruption

There are few filmmakers as adept as Sofia Coppola in depicting the world as seen by vulnerable young women pressing their faces against the ribs of a gilded cage.

From the dreamy suburban prison of her debut The Virgin Suicides to the languorous privilege of Lost in Translation and the florid excesses of historical biopic Marie Antoinette, Coppola’s eye for teenage perspectives allows her to find the universal tragedy in her heroines’ individual circumstances.

These ...