Somewhere is likely her least praised film, despite having won prestigious prizes such as the Golden Lion at the Venice Film Festival. This, combined with the pastel palette and her typical indie soundtrack, makes for the ultimate Sofia Coppola movie. As young women entering into these very traditional and masculine environments – for Coppola it was Hollywood, for Antoinette it was the French court – inevitably proves a challenge, seeing as they are often critical and doubtful of young women in positions of leadership. Even though Marie Antoinette - the historical figure - was often seen as an example of the emptiness of absolutism, Coppola's perspective and Kirsten Dunst's portrayal turned her into a nuanced character. After the success of Lost in Translation, she was seen as "the next Coppola" in cinema – and that's a huge burden for any shoulder to carry. The correlation between the French dynasty and her own family is clear. All the typical traits of her as an artist are present, both in terms of narrative and aesthetics. At the time, she was going through a painful divorce process with fellow filmmaker Spike Jonze, who has been speculated to be represented by Giovanni Ribisi's John in the movie.Īlthough not nearly as acclaimed as its predecessor, Marie Antoinette is the most "Sofia-esque" of Coppola's films. Scarlett Johansson's Charlotte is the perfect avatar for Coppola at that moment in time, finding her understanding of her place as a person, artist, and romantic partner. In Lost in Translation, the whole setting makes for an alienating feeling, all aggravated by her perceptions about growing up as a woman always on the move. Lost in Translation, Marie Antoinette, and Somewhere are all about growing up as displaced people in the world we live in, but each with its own peculiar aspects. This rebellion is something present in her next three films as well, all of which make for an inadvertent autobiographical trilogy, with clear avatars for Coppola herself. In the end, the Lisbon girls were rebellious in nature, something only Sofia could've portrayed so accurately. The pastel color palette leans into the girly and feminine themes, establishing a visual style that will become synonymous with her own identity as a debuting filmmaker – not "Francis Ford Coppola's daughter." As bleak as it may seem, the narrative also brings about the subject of loneliness and feminine isolation, something she had to endure herself while growing up in the shadow of strong presences. In The Virgin Suicides, her now-iconic aesthetic is front and center the most important aspect to be seen. Sofia Coppola's first artistic effort is often regarded as one of her most dark, but it already showed her promise. Coppola wrote the screenplay, which was adapted from the 1993 book by American author Jeffrey Eugenides.RELATED: Sofia Coppola's Movies Ranked, From 'On the Rocks' to Royal Intrigue Lick the Star, however, was Coppola’s first attempt at taking creative control of a film project, and, after making the movie, she declared that she had figured out what she wanted to do.In 1999, only one year later, she released her first feature-length film, The Virgin Suicides. She also designed the costumes for the movie. In 1989 she helped her father write the script for a short film titled Life without Zoe, which was part of the anthology movie New York Stories. In 1998, she wrote, directed, and produced her first film, a short comedy called Lick the Star. In 1995 she and Zoe Cassavetes, daughter of director John Cassavetes (1929–1989), appeared on Hi-Octane, a weekly show on Comedy Central that was geared toward teens and focused on movies, fashion, and celebrities. Her biggest role, came in 1990 when her father tapped her to play Mary Corleone in The Godfather, Part III.Sofia Coppola even married a filmmaker, director Spike Jonze whom she met while a student at the California Institute of the Arts (CalArts).Ĭoppola tried her hand at painting, photography, fashion design, acting, and even hosting a show on television. Coppola also appeared in The Cotton Club and Peggy Sue Got Married. She also had small roles in his films, including Rumblefish and The Outsiders. In 2004 she became the first American woman to be nominated for an Academy Award for Best Director, for her movie Lost in Translation (2003). Her first acting role: as an infant boy in her father’s epic film, The Godfather (1972).
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