“History is an interpretation that varies according to the times. My mission is to find psychological truth. I am not a documentary filmmaker. I create characters”
, pleaded screenwriter Deborah Davis during the press conference for the presentation of
Marie-Antoinette
, in September under the golds of the Crillon.
The director sensed that in France, she was walking on eggshells with her portrait of a young rebel, prisoner of her function as a parent.
A straitjacket transposed to the screen by nightmarish visions worthy of a horror film.
If she makes historians tear their hair out,
Marie-Antoinette
is irreproachably orthodox when it comes to television fashion.
The saga is part of the flood of series that exploit and extrapolate the lives of crowned heads.
Catherine the Great, in
The Great,
and Catherine de Medici, in
The Serpent Queen,
stand out in comic mode. Sissi
(The Empress)
and Elizabeth I
(Becoming Elizabeth)
are embarked in…
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