Sofia Coppola’s Marie Antoinette (2006) constitutes a biographical portrayal of the homonymous young French queen. Nevertheless, the film challenges a realistic view, and favours a “personal style in historical representation” (COOK, 2014, p. 214). This paper analyses how the contrast between the notions of excess and naturalness present in the construction of this female biopic, as defined by Dennis Bingham (2010), point to criticisms in consumerism and alienation. In this way, the ideas of personal style and female biopic contribute to the construction of a historical representation which dialogues more with the contemporary audience than the decapitated French queen.
