---
title: "Corsage"
year: 2022
kind: "film"
canonical: "https://film.one/film/corsage"
fi1m_id: "corsage"
imdb_id: "tt11992694"
tmdb_id: 888321
wikidata_id: "Q110158599"
fi1m_score: 81
critics_score: 79
critics_reviews: 24
published: "2026-10-03T02:42:26.568949+00:00"
updated: "2026-10-03T02:42:26.786237+00:00"
region: "GB"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Corsage (2022)

Directed by Marie Kreutzer · 1h 54m · BBFC 15 · Drama, History

## Identity

Corsage

- **Canonical:** https://film.one/film/corsage
- **Type:** Film
- **Fi1m ID:** corsage
- **IMDb ID:** tt11992694
- **TMDB ID:** 888321
- **Wikidata ID:** Q110158599
- **Same entity:** https://www.imdb.com/title/tt11992694/, https://www.themoviedb.org/movie/888321, https://www.wikidata.org/wiki/Q110158599

**Fi1m score: 81** · Critics 79 from 24 reviews

*In a sentence:* Being an empress appears to involve a great deal of dressing up for people who annoy you

> Vicky Krieps makes an irritable, amusing Empress Elisabeth in Marie Kreutzer’s rewarding costume drama. Some modern touches labour the point, and the pace drifts, but the performance earns our patience.

## Synopsis

At court, Empress Elisabeth (Vicky Krieps) is restless inside a life governed by royal expectations. Franz Josef (Florian Teichtmeister), Marie Festetics (Katharina Lorenz) and Ida Ferenczy (Jeanne Werner) belong to the circle around her. Company does not prevent loneliness, and privilege does not make the duties of her position any easier to bear. Elisabeth wants more control over her own life, but the demand that she remain a regal figure leaves little room for her dissatisfaction. She responds with impatience and an unwillingness to behave as others expect.

## Review

*Corsage* is a rewarding, sometimes over-insistent portrait of a woman who has grown tired of being an empress. Marie Kreutzer writes and directs with an interest in Elisabeth’s bad temper that makes the film more engaging than a respectful account of royal unhappiness. Vicky Krieps gives Empress Elisabeth enough amusement and self-absorption to prevent her becoming a model victim. We recommend it, provided a restless central character matters more to you than a fast-moving story.

The performance is the reason to stay. Vicky Krieps can suggest that Elisabeth knows how absurd her circumstances are without making her seem untouched by them. The regal composure remains legible even when irritation begins to show, and the amused expression does not make her easy company. We laughed at that expression, because she looks so unwilling to reward the people around her with the graciousness they expect. Her loneliness becomes more affecting because the film allows her to be difficult.

Judith Kaufmann’s cinematography gives the period beauty a severity that suits this performance. The images let us appreciate the royal surroundings without suggesting that Elisabeth ought to be satisfied with them. Martin Reiter’s production design contributes to an impression of grandeur that has become tiresome to inhabit. Monika Buttinger’s costumes are especially effective at making elegance seem demanding. The clothes look like things in which being observed matters more than being comfortable.

The deliberate modern touches are less consistently useful. Marie Kreutzer is entitled to depart from a solemn historical portrait, and the playfulness gives the film some welcome bite. At times, though, the insistence on making Elisabeth feel close to us becomes too apparent, as if an audience could not recognise frustration without encouragement. Vicky Krieps has already made the connection through her performance. The film is funniest when it leaves her room to be sour.

Ulrike Kofler’s editing accepts the risk of lingering with a dissatisfied person, and mostly justifies it. A quicker film might have less room for the small shifts in Elisabeth’s manner that make her interesting. There are stretches, however, when the pace slackens without revealing much more about her; the 114 minutes do not all feel necessary. Camille’s music helps keep the film from settling into polite solemnity. Neither the editing nor the score can quite disguise the occasions when the writing circles a point we have already understood.

As a costume drama, *Corsage* benefits from allowing its central figure to be selfish without rushing to excuse her. Elisabeth’s privilege does not disappear because she resents its conditions, and Marie Kreutzer leaves room for us to find her exasperating. We are not required to approve of her at every moment. That makes the attention to her unhappiness more convincing, even when the film seems a little too pleased with its own irreverence.

Watch it for Vicky Krieps, with a little patience for the passages where the film catches up with her. There is no need to approve of Elisabeth to enjoy spending time with her. Anyone requiring gracious behaviour from royalty should make other arrangements.

*Fi1m score 81, published 3 October 2026.*

## What the critics say

Most critics welcome Corsage as a witty, sympathetic reworking of the royal biopic, with Vicky Krieps providing the clearest point of agreement. Her performance is praised for making Elisabeth fierce, amused and contradictory, while suggesting the loneliness beneath her public composure. The reviews also favour Marie Kreutzer’s willingness to depart from costume-drama conventions, often finding the anachronisms playful and purposeful. Costumes, cinematography and sound receive praise for conveying both royal privilege and personal confinement.

The spread runs from enthusiastic endorsement to qualified approval, with no outright negative verdicts. Reservations concern slow pacing, the choice of period in Elisabeth’s life and how convincingly the modern touches fit. Eye for Film finds some of those touches less assured than the film’s deeper moments, while The New Yorker questions its easy ridicule of historical manners. Even these more reserved responses retain considerable admiration for Krieps.

## Straight answers

**Is Corsage worth watching?**

*Corsage* is worth watching for Vicky Krieps’s irritable, amusing Empress Elisabeth, and we scored it 81. We recommend it to anyone who enjoys a costume drama centred on a difficult personality, with patience for a drifting pace and modern touches that sometimes labour what the performance already makes clear.

**How long is Corsage, and what is it rated?**

*Corsage* runs 1h 54m and is rated 15 by the BBFC in the UK. It is a drama and history film.

**Where can I watch Corsage in the UK?**

*Corsage* is streaming on Channel 4 in the UK, and it is also available to rent from Amazon Prime Video from £3.49. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Corsage, and is it suitable for children?**

*Corsage* has a UK 15 certificate, so it is not suitable for younger children. That classification places it with audiences aged 15 and over, but we cannot give a specific warning about violence or frightening scenes from the information available; the certificate alone does not identify what earns the restriction.

**How does Corsage compare to The Favourite?**

*Corsage* is the quieter royal drama beside [*The Favourite*](https://film.one/film/the-favourite), with less emphasis on noisy rivalry and scheming. We recommend *The Favourite* for sharper court conflict and three central performances that make cruelty funny and uncomfortable; *Corsage* is the better fit for those drawn to one restless, difficult woman, though its pace sometimes slackens.

**What should I watch after Corsage?**

After *Corsage*, try [*The Favourite*](https://film.one/film/the-favourite) (2018, Fi1m 87): Royal privilege permits appalling behaviour, with considerably more noise and scheming. Then [*Orlando*](https://film.one/film/orlando) (1992, Fi1m 81): Another period portrait that treats prescribed womanhood with curiosity and irreverence; and [*The Earrings of Madame de...*](https://film.one/film/the-earrings-of-madame-de) (1953, Fi1m 87): Social expectations and private longing receive an equally exacting, less abrasive treatment.

### Reviews we read (24)

- **Empire**, Lou Thomas (90/100, inferred): The review calls the film a surprising, funny and compelling period drama, despite some slow pacing. It especially praises Vicky Krieps’s performance and the playful anachronisms. [Read](https://www.empireonline.com/movies/reviews/corsage/)
- **The AV Club**, Manuel Betancourt (90/100, inferred): The critic calls the film a ravishing, masterful meditation on loneliness and finds its fictional historical approach both electric and energizing. They especially praise Vicky Krieps’s layered performance, which reveals the Empress’s inner life beneath her enigmatic expression. [Read](https://www.avclub.com/corsage-movie-review-vicky-krieps-marie-kreutzer-1849862033)
- **Little White Lies**, Caitlin Quinlan (85/100, inferred): Quinlan finds the film an invigorating, elegant reinvention of the costume drama. She particularly praises Vicky Krieps’s lively performance and the film’s visual texture. [Read](https://lwlies.com/festivals/corsage-first-look-review)
- **Los Angeles Times**, Robert Abele (85/100, inferred): A playful, provocative biopic that offers a tantalizing way forward for the genre. The critic particularly praises Vicky Krieps’s magnetic performance and Marie Kreutzer’s artful, defiant portrait of Elisabeth. [Read](https://www.latimes.com/entertainment-arts/movies/story/2022-12-28/review-corsage-vicky-krieps-marie-kreutzer-elisabeth-austria)
- **Variety**, Jessica Kiang (Critics Pick): The review praises the film as a witty, liberating subversion of biopic and costume-drama conventions. It especially singles out Vicky Krieps’s performance for bringing the Empress vividly to life. [Read](https://variety.com/2022/film/reviews/corsage-review-1235270514/)
- **The i Paper**, Christina Newland (82/100, inferred): Newland finds the film an unusual, worthwhile biopic and a bold, ambiguous portrait of historical womanhood. She praises Vicky Krieps and Marie Kreutzer for doing justice to Sisi’s complexity. [Read](https://inews.co.uk/culture/film/corsage-review-bold-ambiguous-feminist-period-drama-opposite-bridgerton-2040023)
- **Radio Times**, David Parkinson (4/5): Parkinson presents the film as a fresh, gently anachronistic take on Empress Elisabeth’s life. He singles out Vicky Krieps for bringing new life to Elisabeth’s unfulfilled existence. [Read](https://www.radiotimes.com/movie-guide/b-hh1c58/corsage/)
- **Sight and Sound**, BFI (80/100, inferred): The review praises the film as a witty, modern reimagining that gives Empress Elisabeth agency and tragedy. It particularly singles out Vicky Krieps’s commanding, nuanced performance. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/corsage-empress-sissi-bends-bars-her-gilded-cage-this-smart-biopic)
- **Time Out**, Anna Smith (4/5): Smith presents the film as a spiky, witty period drama and praises Vicky Krieps as bold and brilliant. Krieps’s performance is singled out as the film’s driving strength. [Read](https://www.timeout.com/movies/corsage-2022)
- **IndieWire**, Adam Solomons (B): The critic finds the film a noble, often successful reclamation of Elisabeth’s story, though its ending leaves a bitter taste. Krieps’s electric performance, especially in scenes with Louis Le Prince, is singled out for praise. [Read](https://www.indiewire.com/criticism/movies/corsage-review-vicky-krieps-1234725517/)
- **Slant Magazine**, Keith Watson (3/4): Watson finds the film vibrantly alive despite its story of repression and midlife angst. He especially praises Vicky Krieps’s wry, unsentimental performance as Elisabeth. [Read](https://www.slantmagazine.com/film/corsage-review-marie-kreutzer-vicky-krieps/)
- **The Guardian**, Peter Bradshaw (75/100, inferred): Bradshaw finds the film austere and angular, but a shrewd study of anger and women’s confinement. He particularly praises Vicky Krieps’s exhilaratingly fierce, uningratiating performance. [Read](https://www.theguardian.com/film/2022/may/20/corsage-review-a-cry-of-anger-from-the-pedestal-prison-of-an-empress)
- **The Hollywood Reporter**, Leslie Felperin (70/100, inferred): Felperin finds the film a compelling, imaginative take on disaffected royalty, though its quiet period lacks a clear reason for its focus. She especially praises Vicky Krieps’s intelligent, regal performance and the striking costumes. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/corsage-review-cannes-2022-1235152389/)
- **The New Yorker**, Anthony Lane (65/100, inferred): Lane finds “Corsage” smart and forthright, though he questions its easy ridicule of past manners. He singles out Vicky Krieps’s tough, amused performance and the film’s vivid images of constraint. [Read](https://www.newyorker.com/magazine/2023/01/02/damien-chazelles-babylon-goes-nowhere-in-a-mad-rush)
- **Screen Daily**, Wendy Ide (64/100, inferred): The review’s overall verdict is unavailable because the article text is paywalled. Its standfirst singles out Vicky Krieps’s portrayal of Empress Elisabeth as a chain-smoking, self-absorbed figure. [Read](https://www.screendaily.com/reviews/corsage-cannes-review/5170246.article)
- **The New York Times** (64/100, inferred): The page content is blocked, so the critic’s verdict cannot be determined. No praised or criticized element is available to identify. [Read](https://www.nytimes.com/2022/12/22/movies/corsage-review-vicky-krieps.html)
- **The Skinny**, Ben Nicholson (★★★★★): The review finds Corsage a gloriously revisionist portrait of a woman pushing against royal constraints. It singles out Vicky Krieps’s charismatic, contradictory performance as its chief strength. [Read](https://www.theskinny.co.uk/film/new-releases/corsage-2022-review)
- **HeyUGuys** (85/100, inferred): The critic considers the film a fresh and compelling portrait of Elisabeth. They particularly praise Vicky Krieps’s outstanding, regal performance. [Read](https://www.heyuguys.com/corsage-review/)
- **The Wrap** (85/100, inferred): The critic praises the film as an intelligent, sympathetic and sharply witty portrait of Empress Elisabeth. Vicky Krieps’s nuanced performance is singled out as a particular strength. [Read](https://www.thewrap.com/corsage-film-review-vicky-krieps-empress-elisabeth-austria/)
- **/Film**, Sarah Milner (8 out of 10): The critic finds the film well-crafted and thoughtful, with a compelling perspective on femininity and identity. She particularly praises Vicky Krieps’s performance and the sumptuous cinematography and costumes. [Read](https://www.slashfilm.com/1011356/corsage-review-an-intimate-portrait-of-empress-elizabeth-tiff/)
- **Paste**, Kathy Michelle Chacón (8.3/10): The review finds the film a warm, empathetic reimagining that makes Empress Elisabeth feel human. It especially praises Vicky Krieps’s performance and the sound design that conveys the empress’s loneliness. [Read](https://www.pastemagazine.com/movies/vicky-krieps/corsage-review)
- **Deadline**, Stephanie Bunbury (70/100, inferred): Bunbury finds the film clever and austere in intention, yet lush in execution, and says its approach works for her. She particularly praises its meticulously considered visual construction and its probing portrait of privilege and frustration. [Read](https://deadline.com/2022/05/corsage-review-vicky-krieps-cannes-1235028838/)
- **The Playlist** (70/100, inferred): The headline indicates a positive review of the film. It singles out Vicky Krieps’s performance as Elisabeth for praise. [Read](https://theplaylist.net/corsage-review-vicky-krieps-marvels-as-elisabeth-of-austria-in-stunning-period-drama-cannes-20220520/)
- **Eye for Film**, Anne-Katrin Titze (65/100, inferred): Titze finds the film compelling but uneven, with some modern touches feeling less assured than its deeper moments. She particularly praises Vicky Krieps’s performance and the exquisite costume design. [Read](https://www.eyeforfilm.co.uk/review/corsage-2022-film-review-by-anne-katrin-titze)

## Details

- **Director:** Marie Kreutzer
- **Director:** Marie Kreutzer
- **Writer:** Marie Kreutzer
- **Cinematography:** Judith Kaufmann
- **Editor:** Ulrike Kofler
- **Music:** Camille
- **Production design:** Martin Reiter
- **Costume design:** Monika Buttinger
- **Producer:** Alexander Glehr, Johanna Scherz
- **Cast:** Vicky Krieps as Empress Elisabeth; Florian Teichtmeister as Franz Josef; Katharina Lorenz as Marie Festetics; Jeanne Werner as Ida Ferenczy; Alma Hasun as Fanny Feifalik; Finnegan Oldfield as Louis Le Prince; Manuel Rubey as Ludwig II; Aaron Friesz as Rudolf, Crown Prince of Austria
- **Runtime:** 1h 54m
- **Certificate (BBFC):** 15
- **Release (the UK):** 26 December 2022
- **Genres:** Drama, History
- **Budget:** $8 million
- **Box office:** $3 million
- **Trailer:** https://www.youtube.com/watch?v=wBb8vvOCiN8

## Where to watch in the UK

- Channel 4: free, hd
- Amazon Prime Video: rent £3.49, sd
- Amazon Prime Video: buy £7.99, sd

*Checked 2026-10-03.*

Also available in: AT, AU, BE, BR, CA, CH, DE, ES, FR, GB, IE, IT, MX, NL, TR, US. Add `?region=XX` to this URL for another country.

## Awards

- International Submission to the Academy Awards 2023: International Submission to the Academy Awards (nominated)
- European Film Award for Best Actress 2022: European Film Award for Best Actress (won)
- European Film Award for Best Director 2022: European Film Award for Best Director (nominated)
- European Film Award for Best Film 2022: European Film Award for Best Film (nominated)

## If you liked this

- *The Favourite* (2018), Fi1m 87: Royal privilege permits appalling behaviour, with considerably more noise and scheming. — [Fi1m page](https://film.one/film/the-favourite.md)
- *Orlando* (1992), Fi1m 81: Another period portrait that treats prescribed womanhood with curiosity and irreverence. — [Fi1m page](https://film.one/film/orlando.md)
- *The Earrings of Madame de...* (1953), Fi1m 87: Social expectations and private longing receive an equally exacting, less abrasive treatment. — [Fi1m page](https://film.one/film/the-earrings-of-madame-de.md)
- *The Piano* (1993), Fi1m 88: A more openly passionate account of female desire under watchful eyes. — [Fi1m page](https://film.one/film/the-piano.md)
- *The Assassin* (2015), Fi1m 82: For patient viewers, another constrained woman inside a meticulously composed period setting. — [Fi1m page](https://film.one/film/the-assassin.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/corsage