“Yes, Priscilla’s darkly muddy visual palette must be celebrated….not. I felt as if I’d been locked in a realm of relentless gloom — confined like a kind of political prisoner with minimal access to sunlight.
“On one hand this is a respectable aesthetic strategy, but on the other it’s a strategy that punished me, Jeffrey Wells, as I sat there in my AMC auditorium.
“And by the way the under-lighting is evident during Priscilla’s life in Germany with her parents (gloom, gloom) so the visual confinement aesthetic lacks discipline.
“All I know is that Le Sourd’s cinematography made me feel like I was an inmate at Abu Ghraib.”
— response to K. Bowen’s effusive praise for Coppola’s film.