I can see that what has taken the most of your interest is the psychological side of this film.
I myself watched the film two nights ago. While I agree (as majority also seems to) that Ana de Armas is spectacular in this role, and, I think, the work of hers and the director Andrew Dominik fit each other like hand and arthouse glove; I don't think this film is about Norma Jean, or Marilyn Monroe.

I think Blonde isn't a biopic; it is a utilization of a well known icon to make some points about stardom in entertainment industry, and how childhood experiences can affect a career like that. (A number of significant events in it aren't accurate, and one can see the list of inaccuracies here). Therefore we can only speculate about how this or that event, depicted in the film, could affect a personality of the lead character. What I personally disliked most about the film was the overarching weight of a fantasy father figure. I saw it more like an overarching element of a bundle of projection and bias than a genuine human condition that would occur in the environment Norma Jean spent her adult life in. My personal opinion is that people realize the power they have quite quickly, regardless of their childhood and previous background. They learn to tap into it. That kind of thing isn't something they don't want. But how it all plays out, and what choices they make while wielding that power could indeed be related to aspects of personality formed during childhood. That is probably why the careers of Madonna, Pamela Anderson and Marilyn Monroe differ from each other in the first place. The Blonde movie makes a biased attempt to convince the viewer that the price of being widely acclaimed 'sex symbol' is having a difficult childhood, when later on you don't know most of the time who you are, and you are just innocent, clueless drifter throughout your career till its miserable end. I call it bulls*it, which at times almost feels like an envy in regards to status some people have been able to achieve. I think Marilyn Monroe and her legacy is a bad match for a fictionalized story about how bad it is to be a superstar and a sex symbol because, for one, she was living in the era of sexual revolution, which the Blonde film ignores completely (same as the actress's first marriage).

I think if the producers wanted to make a decent film about Marilyn Monroe, there had to be clear emphasis on issues with addictions: drugs and alcohol (she struggled with that way before her death), and that where the root for all of it would lie. I think the actual facts tell us that that was the real tragedy of her life and career, and blaming an absent father (which, by the way, she found - look at the linked article above) for all the disasters and failures of a superstar life is simply unfair and a cheap cop-out.
For what it's worth, this is being written by someone who himself was born under a Gemini Sun, had been dating a woman who'd lived in orphanages, and had seen up close what an addiction can do to a woman. The woman in Blonde is neither Marilyn Monroe, nor Norma Jean; it's a half truth about that woman at best.

Thoughts that most accurately sum up my view of Blonde movie are those of Stephanie Zacharek of Time magazine: "[Dominik is allowing] no room for the real-life Marilyn's multidimensionality [...] Marilyn—the brilliant, perceptive if often difficult performer—is almost nowhere to be seen in Andrew Dominik's willfully clueless Freudian fantasy Blonde".