Even though the shadow of his father, the director Francis Ford Coppola, is overwhelmingly long (“The Godfather” is consistently in the lists of the ten best films in the history of cinema), Sofia Coppola has had the courage to overcome and chart their own career behind the camera, always with the label of ‘daughter’ on its head. Even so, has already shot several films that connected especially well with the audience that the next generations their share, almost always thanks to a peculiar sense of aesthetics that could be considered as an advancement of the taste for the pink and, in general, the friendliness of the cookie that defend the generations millennial and centennial. Probably the young of the generation Z have not seen “The virgin suicides” (1999) or “Marie Antoinette” (2006), but if they did see that their aesthetic codes are not exactly an invention of its time. Although to succeed in television series today.
There is a connection, sentimental among “The virgins suicide”, probably the best movie of Sofia Coppola despite being the first, and “Euphoria”, the series of Sam Levinson starring Zendaya that swept in the streaming of HBO last year. The film Coppola is also a portrait of adolescence also marked by a nihilism poetically deployed and aesthetically very seductive. With “Marie Antoinette” the influences are even more evident, starting with the audiovisual operation to recover an iconic figure of the imaginary feminine and its reinterpretation with the keys of the current.
In “Marie-Antoinette”, Sofia Coppola tested strategies we’re now seeing in series like the very noticeable “Dickinson”, another reinterpretation in key centennial of the biography of the american poet Emily Dickinson (played by Hailee Steinfeld). At that, the director approached the French queen is not from the black legend of his narcissism and privilege, but taking into account his youth and naivetyin an attempt to denounce and question the tendency to demonize the historical figures female. That impulse feminist is this much more evident on “Dickinson”, where the poet is converted, directly, in a brave suffragette. And we are desired to see “The Great”, with a Catherine the Great, played by Elle Fanningin another reinterpretation that also promises to the mutation of the empress in an advocate of empowerment.
We find more points of meeting between these productions, historical recover the mythical figures female and the production of Sofia Coppola. For example, the use of current songs to connect the youth audience with characters of past centuries. Or a calculated aestheticism we then viewed it with some surprise, and today it has become the norm. All the filters of what rosa and the frequencies kind of cake and what cuqui serve as an element of seduction, visual stories that, sometimes, do not reach in their scripts the luxury of his aesthetic proposal. Of the first tv series of Sofia Coppola, a version of The “national traditions”, of Edith Whartonfor Apple TV, we expect just that. That knows how to recreate meticulously crafts the atmosphere of the Golden Age of american, no lighten by one iota the acidic critique of the world of fame that represents Undine Spragghis unforgettable protagonist. We look forward to seeing her.