Krieps soars in Corsage.
"She scares me so much," a maid says as Corsage begins and cuts to a woman submerged in bathwater. She is Empress Elisabeth of Austria and, when she rises, the two maids beside the bath give her conflicting accounts of how long exactly she was able to hold her breath. The truth doesn't matter to Elisabeth , just as it doesn't matter to writer-director Marie Kreutzer.
SCREENRANT VIDEO OF THE DAY Corsage begins in December 1877 and tracks a year in the life of Elisabeth, two decades before her eventual assassination in 1898. Detached from her husband, Franz Joseph I , Elisabeth only seems concerned with her daughter Valerie and herself. It is the eve of her 40th birthday, and she is clearly perturbed at growing older, finding little disruptions where she can.
The rest of the cast dutifully follows Krieps' lead, from Florian Teichtmeister's Franz I to Aaron Friesz as the Crown Prince Rudolf. The fact that they, nor any of the other side characters, don't get much screen time is intentional, even if it does feel like we miss out on some key part of why Elisabeth is the way she is.
The ending of Corsage is its most divisive element, if only because it leans so drastically into the alternate history it depicts. Elisabeth may finally get the freedom she desires, but its connection to what comes before it feels tenuous. It is hard to tell if the Empress' decline is intentional on her part or a symptom of a larger issue, the result of a few different scenes that would veer into spoiler territory if revealed here.
For the few things that don't work, though, there is a good amount of Corsage that does. It is an impeccably crafted period piece that feels in kinship with Sofia Coppola's Marie Antoinette. Krieps is able to communicate a complex interiority in Elisabeth with such small glances , a testament to Kreutz's writing and direction, as well as the actress' own skill, which feels as if she has a lot more to say.
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