By Vittoria Vignolo
One word we can definitely use to describe Sofia Coppola’s filmmaking style is unique.
From her first debut movie The virgin suicides (1999), an adaptation of the book written by Jeffrey Eugenides, she has stuck to a certain aesthetic choice that transmits a certain sense of nostalgia and tranquility, despite its tragic themes.
In particular, her filmmaking is distinguished by her use of bright lighting and pastel colours, particularly utilised to portray a natural and soft aesthetic appeal to her scenes. These features can also be seen in the iconic movie Marie Antoinette (2006), in which she features natural lighting, along with soft colours, such as pastel pink and yellows. As well as her filmmaking style, all her characters seem to be represented as “tormented” individuals that are all somehow undergoing drastic changes in their lives.
For instance, The Virgin suicides portrays the lives of five teenage sisters that are struggling with their family and society.
Portraying the struggles of a transitioning time in their lives shows the character’s vulnerability and creates a dramatic effect in the film.
Similarly, Marie Antoinette portrays the struggles of the young girl about to be married and ready to rule France at a very young age. This historic movie shows the ineternal of her character and their personal experience.
Despite the tragic ending, Sofia Coppola’s aesthetic style brings a sense of sweetness and tenderness to the movie.
Coppola has been often criticised for nepotism, being Francis Ford Coppola’s daughter, and mostly criticised for her supposedly “shallow” filmmaking.
However, it is the simplicity of her approach that shaped her style, making it really distinctive and unique.
In addition to those two iconic movies, the acclaimed and awarded film Lost In Translation (2003) also showcases her skills and talent in both directing and screenwriting.
What do you think? Do you agree with the elegance of her style and aesthetics?