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As far as film dynasties go, the Coppola family is certainly one of the most dynamic in terms of accolades. Following in her filmmaker father’s footsteps, Sofia Coppola has slowly become one of the most interesting directors of her time. She is the first American woman to win the Best Director prize at Cannes and the Golden Lion, and she’s the third woman to be nominated for an Academy Award for Best Director. Even if you’ve never seen her films, you’ve seen the iconic imagery that springs forth; the soft focus visuals with a pastel color pallet and the cinematography that manages to capture the inner workings of her characters while also giving this feeling of truly being alive that even stills can showcase.

As a filmmaker, Coppola is absolutely fascinated with characters who suffer from being hollow inside. A little seen gem in her filmography, Somewhere is Coppola’s examination into the life and ennui of the Hollywood star, pairing well with Lost in Translation which covers similar territory. Almost all of her filmography involves main characters whose place in the world isn’t obvious, and they tend to suffer from depression as a result. The Lisbon sisters from The Virgin Suicides  (above) were the first and most obvious examples of this in her filmography. The quintessential Lisbon girl, Lux (Kirsten Dunst), chooses to try and fill the hole in her life through the typical teenage rebellion of sex and drugs. The oppression of the Lisbon family stifles the already depressed girls to the point that they are sequestered from the community and at one point only able to communicate via records. Even though their suicides remain a mystery to the neighborhood boys, the girls’ ennui was present throughout their short lives, and only through death could they find meaning.

Then you have Coppola’s fetishization of luxury. The Bling Ring is by far the best example of this, considering the source material is a news article about a group of young socialites who steal from the rich and give to themselves. The kids from The Bling Ring find joy and meaning in their thefts, as best observed in this clip of the group living it up like the stars. There’s also the infamous shopping scene from Marie Antoinette where Coppola blends Marie’s shopping montage against “I Want Candy.” The fetishization of luxury tends to come from characters who believe that belongings are equatable to living life, seeking validation through possessions. Privileged people seeking solace through material possessions pay the price in a Coppola film, no matter how sympathetic they may be.

Sofia Coppola has an ear for great music. Hell, she’s even technically done a musical, but it’s her original soundtracks that stand out. Take the karaoke scene from Lost in Translation, which beautifully combines performance and song to truly give a depth to the characters as their relationship grows. There’s also the heartbreaking use of “Playground Love”, the anachronistic but perfect use of rock in Marie Antoinette, and the pitch perfect use of “Cool” and “I’ll Try Anything Once” in Somewhere. Every Coppola movie’s soundtrack uses the music as an extension of the character’s thoughts and emotions.

The Beguiled is the first remake in Coppola’s oeuvre, and the most different from the rest of her filmography at first glance. It is about a group of Southern women in complete isolation from the Civil War who happen upon an injured soldier on their property. The film will have no contemporary music but an original score by Phoenix, who are featured in Lost in Translation. The remake switches perspectives from the soldier’s to the residents of the schoolhouse, shifting mood and tension as it is no longer the tale of women throwing themselves at the only man around and more so the curiosities he inspires. This is the film that won Coppola the Best Director prize at Cannes, making her the first female in decades to collect the award. So, either way audiences are in for a gothic delight.

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