Portrays her youth, isolation, and experiences within court structure sympathetically. Intentionally modernized and focused on her subjective experience, rather than a fully accurate historical personality replication.

Captures his known reserved and indecisive nature, particularly early in the marriage. Functions more as a depiction of an awkward youth thrust into power than a deep political portrait.

Accurately represents the embodiment of rigid Versailles etiquette and the figure responsible for guiding (and clashing with) the young Dauphine/Queen.

Represents Marie Antoinette's intimate circle and preference for certain companions, reflecting the historical Yolande de Polignac's role as a controversial favourite.

Depicted as the established monarch during Marie Antoinette's arrival, embodying the older, more decadent court style.

Portrayed as a source of court intrigue and an early rival for Marie Antoinette, reflecting the historical tension between the Dauphine and the King's powerful mistress.

The ritualistic handover where Marie Antoinette had to abandon all things Austrian is accurately depicted.

Effectively conveys the complex, rigid, and often absurd rules and ceremonies (like the public Lever) that governed life at Versailles.

The seven-year delay in consummating the marriage and the pressure it caused Marie Antoinette is a central and historically accurate plot point.

While historically accurate that she engaged in these activities, the film heavily emphasizes them, potentially downplaying other aspects of her life, to illustrate her isolation and coping mechanisms.

The film correctly omits Marie Antoinette saying this infamous quote, aligning with historical understanding that she never uttered the phrase.

The film portrays a definite affair. Historians agree they were close, but the extent and nature (physical) of their relationship remain debated.

Accurately shows her use of the Petit Trianon and its hamlet as an escape from court formality, reflecting her desire for privacy and a simpler (though still privileged) life.

The film shows the births of her first daughter and the Dauphin. Historically, she had four children before leaving Versailles; the film simplifies this for narrative focus.

The film touches upon her negative public image and the nickname linked to her spending, reflecting real contemporary criticisms (though she wasn't solely responsible for France's debt).

A deliberate choice, the film focuses almost entirely on life within Versailles, largely omitting the broader social, economic, and political factors driving the French Revolution.

Accurately depicts the culmination of the film with the October Days march forcing the royal family to leave Versailles for Paris.

The intense focus and pressure on Marie Antoinette to bear children, especially a male heir, is accurately portrayed as a central struggle of her early years as Dauphine and Queen.

Her close relationships with these women, forming an intimate circle separate from the main court, are based on historical fact, though the dynamics are interpreted through the film's lens.

Unprecedented access to film inside the Palace of Versailles provides authentic and stunning backdrops (Hall of Mirrors, gardens, exteriors).

Successfully conveys the extreme luxury, intricate detail, and visual richness of the French court during this period.

The basic shapes of the gowns, use of panniers, stays, and men's attire align well with late 18th-century fashion outlines.

While pastels were fashionable, the film's consistent and dominant use is a specific aesthetic choice, emphasizing youthfulness and a stylized, dreamlike quality over strict historical accuracy.

The brief shot of Converse sneakers is a famous, deliberate anachronism meant to underscore Marie Antoinette's youth and connection to modern teen experience.

While often elaborate, the hairstyles are generally less extreme than the towering creations seen in some contemporary caricatures and portraits. Hair worn completely down is inaccurate.

These locations are accurately depicted as Marie Antoinette's private domain, contrasting visually and atmospherically with the main palace.

The film effectively uses the magnificent yet confining setting of Versailles to portray the isolation, lack of privacy, and oppressive nature of court life from Marie Antoinette's perspective.