And here Tamara Deverell intervenes, already set designer for Guillermo del Toro, as well as a priestess of detail, minister of worship of divination from particular.

First of all because he knows how to make the words of fairy tales visible, then because he is able to perfectly recreate not only a historical era, but the exact atmosphere of a house (or perhaps it is more correct to say of a way of life) and of narrate a world.

The dichotomy experienced by a fourteen-year-old girl who suddenly finds herself courted by none other than Elvis Presley is the common thread of a scenography on a palette of grays and browns with which the life of the Beaulieu family in Germany is identified, in the American base of Wiesbaden, in contrast with the cream, warm and bright tones of Graceland in Memphis.

There was never Tamara Deverell in Elvis' house and it was a good thing, as she stated in several interviews, because it would have too much conditioned her gaze on a different period from that in which the events of the film of which in the current there is almost nothing left of the house.

So she rebuilt Graceland in Ontario, where the film was shot in just 30 days, in a meticulous work of careful precision. Deverell recreated the style of the time to perfection (one example above all: the rugs over the high, soft carpet, into which Priscilla's little feet sink), and then dealt with proportions.

He raised the ceilings compared to those of the real Graceland: Jacob Elordi - Elvis Presley is very tall, but above all this modification served to enhance the sense of smallness of Cailee Spaeny - Priscilla Beaulieu. She looks like a doll when she first arrives in that villa, especially when she moves between the light rooms, with the sumptuous curtains and that suspended light.

The director of photography Philippe Le Sourd chose it precisely to give visual substance to the amazement of a little girl, creating a nebulous light, as if it were a perpetual magic hour with dust particles wandering in the air .

Returning to the scenography, Deverell then raised the sofa, remade to measure and faithful to what was in the house at the time, but also designed to accentuate the contrast between Elvis and Priscilla ( which, sitting up there, does not touch the ground).

And then there is the bedroom, a dark, very masculine place, in blue, black and gold, regal colours, in which bizarre objects stand out, including a ceramic tiger ( which Priscilla will feel like caressing during an LSD trip).

She and Elvis experience this space quite a bit when they're together, but it's his place. Upon closer inspection, the whole house belongs to Elvis, who builds it tailor-made to measure, like his wife's look: black hair and more make-up on the eyes, he tells her, to highlight the blue.

No colorful patterns or brown clothes: they remind him of German sadness... And she, a young woman with a sensitive heart, full of love, wanders around an enchanted castle that ultimately will never belong to her.

Stacey Battat's costumes complete the work, also following the common thread of meticulous attention to detail, to tell the story of Priscilla's young age up to her adulthood, through models, colors and patterns to wear, together with the hairstyles and make-up that would become Mrs. Presley's distinctive trait, but also the emblem of the fashion and style of those years.

A job that should not be underestimated is that of graphics: magazines, concert posters, record covers have all been redesigned with the face of Jacob Elordi to avoid inconsistencies between the original Elvis (and portrait in the newspapers of the time) and the character of the film. It's so true, God is in the details.