MELBOURNE UNIVERSITY FILM INQUIRER

I first took notice of Sofia Coppola the same way a lot of people have; through the iconic surname. However, I think she has managed to overcome the implication of having succeeded simply thanks to nepotism, carving out a respectable filmography, and it is my opinion that she generally imbues more style, emotion, and wit into her films than even her father has his, and, at the very least, maintains a more consistent level of quality. Recurring themes in her films include loneliness (Lost in Translation, Somewhere), fame (The Bling Ring, Marie Antoinette), and the friction between femininity and masculinity (The Virgin Suicides, The Beguiled). Another notable feature of her works is her choice of music, husband Thomas Mars’ band, Phoenix, often featuring in their soundtracks, along with other indie bands such as The Radio Dept., and Aphex Twin. Although her Hollywood royalty background can give her work a certain sense of privilege (most of her protagonists are rich, white, and beautiful), the empathy she gives her characters, and the style with which she presents them to us makes me want to care about them and her films. What follows is a review and ranking of all of her feature-length ones so far.

7. The Bling Ring (2013)

Based on a Vanity Fair article by Nancy Jo Sales, The Bling Ring is a stylish portrayal of shallow teens who break into celebrities’ homes. Despite the hard-to-like characters and questionable ethics at play, Coppola wisely makes no moral judgements and instead focuses her talents on how the tale is presented to the audience, which is swift and entertaining.

Rating: 7/10

6. Marie Antoinette (2006)

Set to anachronistic music from such acts as New Order and The Strokes, Marie Antoinette is a hip retelling of the titular queen’s life that manages to toe the line between historical drama and coming-of-age tale. It is only towards the end that the film falls back on its period trappings, which feels a bit conventional after the extremely stylish preceding hours. Nevertheless, the charismatic lead performance from Kirsten Dunst more than makes up for any of the film’s narrative shortcomings.

Rating: 7.5/10

5. Somewhere (2010)

Stephen Dorff gives a beautifully understated performance as Johnny, an actor facing an existential crisis until his daughter (Elle Fanning) is abruptly left in his care. Arguably Coppola’s most affecting film, Somewhere embraces its sentimental premise with little to spare in its brief runtime. After exploring loneliness so well in Lost in Translation, the director manages to find something new to say about our need for affection and companionship.

Rating: 8/10

4. On the Rocks (2020)

At first glance, On the Rocks stands out from the rest of Coppola’s filmography. Gone are the themes of isolation and maturity, and in its place is a seemingly comedic tale of a daughter (Rashida Jones) recruiting her dad (Bill Murray) to spy on her suspicious husband (Marlon Wayans). However, as the events of the film play out, it becomes evident that On the Rocks is proof that Coppola has more to offer than what many critics claim is an overly similar body of work. Both funny and heart-warming, Jones and Murray prove to be a fun odd couple as they bond and learn about themselves in the process.

Rating: 8/10

3. The Beguiled (2017)

A rural girls’ school is rocked by the arrival of a handsome corporal (Colin Farrell) wounded in battle and in need of shelter during the American Civil War. As he gets closer with the girls and their teachers (Nicole Kidman and Kirsten Dunst), the corporal reveals himself to be more than they bargained for. Coppola adapts the novel by Thomas Cullinan (previously adapted as a 1971 Clint Eastwood film) in a predictable but professional fashion. Everything you would expect from her is there; charismatic cast, beautiful set design, haunting imagery, themes of isolation. The one key difference is the nearly-absent score by Phoenix, which provides the film with an eerie quality befitting the feelings of the characters. But whatever Coppola does here is done well, and the film easily accomplishes what it sets out to do.

Rating: 8/10

2. The Virgin Suicides (1999)

Another novel adaptation, The Virgin Suicides is a beautiful debut that captures adolescent rebellion with style and verve. Environments and characters at times remind us of Picnic at Hanging Rock (1975), but The Virgin Suicides does better to frame its characters in a relatable light. All members of the huge cast bring the material to life with lively performances, while the dreamy soundtrack by French band Air begins Coppola’s long affair with using music as its own distinct character. Though the darker themes may be uncomfortable for some, the film is well worth watching if only for the foundation it laid for later films.

Rating: 8.5/10

1. Lost in Translation (2003)

A film well-deserving of its cult status, Lost in Translation takes the theme of being out of one’s element quite literally as the two leads (Bill Murray and Scarlett Johannsson) are left alone (and eventually alone together) in Japan with little to live for. While it often reflects the feelings of Murray’s character, Coppola skews uncomfortably close to fetishizing the exoticness of Asian culture, and at times it is indeed tough to watch an old, white male making fun of ‘weird’ Asian practices. However, the film has so much beauty and truthful emotion that one cannot help but get caught up in the story of two individuals who refreshingly yearn for each other’s companionship more than anything else. The understated performances, hip soundtrack, beautiful cinematography, and production design are fantastic as always, and all come together to form what is Coppola’s best work to date.

Rating: 8.5/10

To find out where Sofia Coppola’s films can currently be watched, just search for them each here. And to find out what she’s lined up to write and direct next, just click here.