B az Luhrmann now has two Elvis movies under his bedazzled belt. The first is his epic biopic starring Austin Butler and now he has unleashed another called EPiC: Elvis Presley in Concert, remixing archival material with never-before-seen footage from the singer’s residency in Las Vegas. What’s remarkable about them both, apart from the director’s obvious affinity for his subject’s showmanship, is his refusal across so many hours of jiggling and swivelling to meaningfully hold Elvis to account. California Schemin’ review – James McAvoy’s directorial debut is an unlikely rap tale Read more

Luhrmann’s Oscar-nominated 2022 film acknowledged Elvis’s cultural appropriation: how his phenomenal success owed so much to the R&B, gospel and rock he grew up around and the racist institutions

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