Sofia Coppola's Filmography Thus Far
Saturday, June 24, 2017 at 3:00PM By Spencer Coile
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Sofia Coppola's films belong inside a dream. Her unique blend of warm (yet vibrant) colors, stunning cinematography, and complicated characters, were on display from her debut feature onward. Although many cite Lost in Translation as her magnum opus, to ignore the rest of her stellar filmography would be a disservice to one of the most eloquent contemporary filmmakers.
Since The Beguiled opens wide next week (it's now playing in LA and NYC) and with her historic Best Director victory at Cannes this year fresh in their mirror let's look at the filmography...
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Characters staring thoughtfully out windows... loneliness haunting young girls... Right from the beginning with The Virgin Suicides, we watched her aesthetic blossom. Focusing on the Lisben sisters in the 1970's (and the boys who loved them), Coppola took firm reign of the source novel by Jeffrey Eugenides and concocted a tale that represented our vulnerable young desires: to feel loved, to be free, to crave attention. She showed adolescent desperation in a way that felt real, palpable, and strangely bittersweet. Who can forget the close-ups of Kirsten Dunst's Lux, the leader of the sisters? Watching her disillusionment unfold is equal parts tragic and life affirming. At least we are all still alive, but what are we living for?
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Though she threads this question throughout her films, Coppola leaves the question unanswered. Lost in Translation follows Bob and Charlotte (Bill Murray and Scarlett Johnasson), two strangers seemingly deserted in the middle of Tokyo. They share a connection in the hotel bar, and what ensues is a story of deep if temporary intimacy. Imbued in each of Bob and Charlotte's conversations are the longings for acceptance and connection. They are each at a fork in the road, and find solace from their isolation. Even if they are doomed to never see one another again, the ambiguity in Bob's final whisper to Charlotte has the kind of passion and power that runs like a current through Coppola's work.
Loneliness and connection are not her only themes. Her next two films, Marie Antoinette and Somewhere, in particular explore notions of affluence and power. Following the Queen of France (Kirsten Dunst) and action film star (Stephen Dorff) negotiate their fame and influence on the public. Although they take place in different time periods and different continents, these two films feel like kindred spirits. Marie Antoinette and Johnny Marco are two characters who would appear to be at the top. They are revered, but at what cost? Everyone knows the tragic end to Marie Antoinette's life. Coppola ignores that, choosing to show her naive hopefulness. It is a touching sentiment; one that is mirrored in Somewhere. When Johnny calls his wife and chokes out the words, "I'm nothing," we (along with Johnny) begin to realize that humanity is all about living. Johnny drives his expensive car out into the desert, leaves the keys in the ignition, and walks into the sun. He is ready to be human, to be something, again.
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2013 found Coppola at her most cynical with The Bling Ring following the true story of teens who stole from celebrities. They choose to rob Paris Hilton, Lindsay Lohan, Orlando Bloom, and numerous others out of sheer boredom and entitlement. Coppola does not concern herself with the "why" of the story. Instead, she settles for telling the story with her own visual flourish. One crucial scene features two of its teens sneaking into the house of Audrina Patridge. In an unbroken, faraway shot, we watch as the two sneak in and steal to their heart's contents. It is both eerie and hilarious, startling yet oddly normal for these two. They are caught and reprimanded for their wrongdoings, but in no time at all, they will bounce back and capitalize on their fame. The vicious circle of affluence churns in new and unique ways.
Whether she is embracing humanity or satirizing the rich and famous for their lack of it, Coppola has carved out a unique space for herself that sets her apart from many of the auteurs working today. What do you make of her filmography thus far?
Reader Comments (20)
Pretty much among the best as of right now as The Beguiled has yet to arrive here in Atlanta. For me,
1. LiT (aka GREATEST FILM EVER MADE)
2. Somewhere
3. Marie Antoinette
4. The Virgin Suicides
5. The Bling Ring
6. Lick the Stars
7. A Very Murray Christmas
Marie Antoinette is clear best film Imo. LiT takes second.
Just had a thought, how pissed do you think Dunst is that Scarlett was cast in that and not her?
Also for a director who has her muses (Kirsten & Fanning) isn't it weird she hasn't used Johansson again after she was so terrific in LiT?
LiT is so... unlit. Fucking boring.
TVS, tho. <333 I wish she used Turner in her other films.
Sofia Coppola is a genuine talent, and she knows her way around a killer soundtrack, too. Lost in Translation is her one stone-cold masterpiece, but her two films with Kirsten Dunst are pretty close. (Oh, and her last film is so-o-o underrated.) I'd rank them thusly:
1. Lost in Translation
2. Marie Antoinette
3. The Virgin Suicides
4. The Bling Ring
5. Somewhere
Isn't it weird that *all* of her leading ladies (Dunst, Scarlett Johansson, Elle Fanning, Emma Watson) *still* are waiting for their first Oscar nominations, despite plenty of acclaim? Johansson clearly was a near-miss for Lost in Translation, and Dunst got close(ish) with Melancholia. It makes me wonder which of her muses she will be able to guide first to an Oscar nom. I really Dunst next year. Fingers crossed.
P.S. I suspect that Dunst was in the throes of her multi-picture commitment to Sony for the Spider-Man movies when Lost in Translation went into production, so promitional duties or other scheduling conflicts may have prevented her from taking part (that is, if she was considered for Johansson's role at all). Johansson, incidentally, now may find herself in the same boat, given her commitment to Disney for all of those disposable Marvel movies. We can thank God at least that Dunst mercifully was able to extricate herself from her superhero films after only three, while Johansson probably has many, many more she's scheduled to do. This may keep her tied up (and away from the Coppola's and Jonathan Glazer's of the film world) till her 40s, which is a damn shame since she (and Dunst) are so much better in challenging movies like Under the Skin than lame ones like Ghost in the Shell. Anyway, pray for rain.
The Beguiled won't open here in the UK for weeks and I don't know if I can wait!!! Looking forward to Nathaniel's review on here soon :)
Mareko
Dunst and Johansson have had plenty of acclaim, yes. Fanning has had a considerable amount. But Emma Watson ? N o n e .
The Virgin Suicides is still my favorite.
I'm not Team Emma Watson, per se, but she did get good notices for The Perks of Being a Wallflower (and should've gotten more kudos, in my opinion, for The Bling Ring).
I wouldn't be surprised if Emma Watson gets a Golden Globe nod for Beauty and the Beast.
I think the GG nom for Watson is a done deal.
Her artistry can be summed up in her big scene in Godfather III with a gaping wound in her chest in a repetitive monotone saying dad behind dead eyes then slumps over.
You are one bitter cunt @/3rtful
I for one CANNOT wait for The Beguiled!
Here's hoping for Dunst's first Oscar nom for that film!!
Emma Watson is so Overrated.
/3rtful, you are a bitter cunt....but don't ever change. Lol
Mareko, I don't think there's anything odd about Johansson and Coppola not reuniting yet. There's only two roles since LiT that SJ would've been eligible for and both went to Dunst.
The Virgin Suicides is still her best.
The Bling Ring is only noteworthy for that unbroken, far away shot.
My mistake. I meant Anonny, not Mareko.
I do love The Bling Ring and most of Coppola's stuff but please can we stop pretending Emma Watson has ever been anything more than adequate in a movie? I love her off-screen persona and if she continues challenging herself and seeking out interesting directors there's every possibility she'll become interesting on-screen too. She's very young after all. But we're just not there yet.
She stuck out like a sore, mannered thumb in The Bling Ring and went out of her way to not mesh with that tone and ensemble. I will not accept any oh-but-her-acting-was-loud-and-high-school-drama-level-as-part-of-some-grand-postmodern-statement-on-purpose arguments. Bad off-key acting is bad off-key acting.
Meantime though Kirsten Dunst is prime for a proper meaty lead right about now and no one seems better positioned than Coppola to give her just that.
Honestly, when I first watched LiT, I was bored to tears. About a decade later, I revisited it, and I absolutely loved it. I guess going through a quarter-life crisis and growing up made me relate to the movie way more than I did as a teenager.
Anonny - I seem to recall (swiftly denied) whispers that Sofia found Scarlett to be a bit "clingy" during filming and that she didn't particularly "gel" with her. Obviously, the performance was great so I'd love a reunion...
I am going to vindicate the most notorious film with her as an actress, and say The Godfather, part III is my fave film of the trilogy.
I know, I know, but fave is not "best", and "best" isn't automatically "favorite". I admire what Coppola did with it, I think the only weaker point comes with Sofia's acting and the film is a masterpiece almost as big as the two previous entries, daring to explore the Vatican scandal around the Vatican Bank and the death of John Paul I, saying what no one else dare to say aloud. And I guess that's the real main reason why it got trashed, it's uncomfortable and daring.
Jesus, I like GF3 more than most. It's definitely greater than the sum of its parts. The four leads are remarkable and it's visually stunning. If only Winona had been Mary as planned. The result would have been exponentially better.