Film School: Sofia Coppola

The Virgin Suicides (1999) The Virgin Suicides (1999)

A critical look the aesthetic and motifs of the director’s filmography.

Broey Deschanel responds to “bad faith critics” of director Sofia Coppola‘s films. This video essay argues that the “soft femininity” Coppola’s films portray is often unfairly dismissed despite being as worthy a film subject in both style and substance as any, and that their slightness is mistaken for superficiality despite being demonstrably steeped in rich artistic traditions:

Fandor explores a recurring motif mentioned in the video essay above, in this short and (very) sweet supercut of Sofia Coppola’s gilded cages:

Fandor looks at the use of various colour palettes across the director’s filmography (more on film colour palettes here):

Self-proclaimed “Sofia Coppola warriorthéo pays to tribute to the director’s work with these “Sofia Coppola movies as album covers”:

From her interest in “characters that are in a moment of transition”, to her needle-drop selections and including reference images in hers scripts, StudioBinder identifies how story, production design, colour, cinematography, editing, sound design, and music comprise Sofia Coppola’s directing style:

Further Viewing

In Broey Deschanel’s video, Hannah Raine asserts that Sofia Coppola’s “particular talent for portraying girlhood”, combined with her unique “mainstream success within the film industry” as a female director, “means that she alone has been tasked with being the director for the girls. But is this fair?” Filmmakers such as Victoria Hochberg and Dr Karen Perlman explore this lack of representation, and its continued effects both on the business and on the cultural impact of film:

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