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?