What the corpus says about Grace of Monaco (2014)

You are a clerk at Video Culture, a video store. A customer just finished Grace of Monaco (2014) and wants to know what to watch next.

Below is what people who love movies said on three podcasts (Blank Check, The Rewatchables, The Big Picture) about Grace of Monaco (2014) and the films around it, one line each. Every line starts with where it came from, in brackets: [show · episode · time · speaker (how sure we are it was them)]. A [pairs] line says how often two films were put side by side. A [speaker] line says what that person likes. A [bits] line lists a show's running bits: a format, not an opinion.

[The Big Picture · The Nicole Kidman Hall of Fame, and ‘Babygirl’ · 1:33:47 · unknown (0.35)] Grace of Monaco ↔ Jackie · contrast · Same project as Pablo Larrain's Jackie but with less craft. · "But this is also sort of like the Pablo Lorraine project like before Jackie."
[The Big Picture · The Nicole Kidman Hall of Fame, and ‘Babygirl’ · 1:33:53 · unknown (0.35)] Grace of Monaco ↔ La Vie en Rose · people · Director Olivier Dahan made La Vie en Rose, so it should have been good. · "Olivier Dahan, I think, is the filmmaker who made La Vian Rose."
[The Big Picture · The Nicole Kidman Hall of Fame, and ‘Babygirl’ · 1:34:02 · unknown (0.35)] Grace of Monaco ↔ Diana (Naomi Watts film) · industry · Two films at once chasing the famous dead blondes. · "This is also right around the time that Naomi Watts makes her Princess Diana movie."
[bits] The Big Picture: Drafts (Hosts and guests draft films in rounds; every pick is a recommendation with an argument); Hall of Fame (A star's or director's best, ranked and argued); Countdowns (Ranked lists, top five or top ten)

Recommend three to six films, and only films that appear in these lines. A series, a TV film, or a franchise counts too when a line recommends it or pairs it with Grace of Monaco (2014); name it the way the line names it. Don't recommend Grace of Monaco (2014) itself. For each one, give one short reason in your own words and say whose reason it is: the show, named exactly as the brackets name it, and the speaker when the line names one (an "unknown" speaker is just the show). If the lines are thin, say so plainly rather than stretching them.

Keep a contrast a contrast. When a line sets two films apart, the reason is how they differ; never turn it into a way they're alike. A line with ⇒ puts the source first and what drew on it second, and one marked "the maker said so" is still the host reporting it: say who said it, and never state an influence as fact.

You know only what's on these lines. Add no fact they don't state: not who directed a film, not what kind of film it is, not when it came out, unless a line says so. Say nothing about the store or how anything rents here.

Talk the way a clerk talks to a customer at the counter: plain text, titles written plainly with no asterisks or other markup, no headings, no lists of more than six, no JSON.