Sofia Coppola
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Mustang (2015)
Directed by Deniz Gamze Ergüven
influenced by The Virgin Suicides (2000)
Themes Visuals Plot
Frequently compared to Sofia Coppola's "The Virgin Suicides," Ergüven's film does have in common five sisters oppressed by religious beliefs, but "Mustang" is much richer, a feminist portrait of youth in rebellion against an entire country's patriarchal culture.
It's also that judgment which separates "Mustang" from Sofia Coppola's surreal "The Virgin Suicides", which tells a very similar tale of confined female vitality.
Deniz Gamze Ergüven's Mustang transplants The Virgin Suicides to rural Turkey, a place where female-horror fairy tales aren't always fiction.
The premise of “Mustang” may sound familiar—and visually, director and co-writer Deniz Gamze Ergüven does seem to have borrowed a few cues from Sofia Coppola ’s stirring 1999 debut, “ The Virgin Suicides ,” in making her own feature film debut.
Despite its surface similarities, Deniz Gamze Ergüven's feature debut is not a Turkish remake of Sofia Coppola's 1999 film, The Virgin Suicides.
It’s impossible to watch this presentation of blossoming female sexuality without thinking of “The Virgin Suicides,” minus the male-generated perspective Sofia Coppola employed.
Okuno has referenced Kieslowski’s Three Colors: Blue , Sofia Coppola’s Lost in Translation, and Roman Polanski’s apartment trilogy as tonal and visual inspirations, and they echo the movie’s more obvious allusions to Hitchcock and De Palma.
There’s a little bit of “Repulsion” here, a dash of “Rear Window,” obviously, and an airy nod to “Lost in Translation,” but mostly “Watcher” plays in a less exalted sandbox.
It’s hard not to enjoy the references Okuno makes to films like “Charade,” with its extended underground metro sequences, “The Tenant,” with Julia’s overly sensitive landlord, and “Lost in Translation,” with its beautiful woman doing nothing in a new city.
The Watcher , written by Zach Ford and Chloe Okuno and directed by Chloe Okuno, is a cross between Lost in Translation and Don’t Look Now .
Ostensibly a romantic drama in the vein of Richard Linklater’s “Before” trilogy and Sofia Coppola’s “Lost in Translation,” “Columbus” joins together a pair of seemingly different people — both with troubles to spare — and delights in them, well, delighting in each other.
What grows between them isn't romantic; their friendship echoing Sofia Coppola's Lost in Translation in form and substance.
The film is not unlike a small-town rewriting of Lost In Translation, at a stretch, but without the facetiousness, without the strident cultural tourism, without the sentiment straining beneath the surface.
The pair bond in a way that’s intimate but non-sexual, rather like – in a muted, non-comic manner – the relationship between the Bill Murray and Scarlett Johansson characters in Lost in Translation.
Imagine Lost In Translation set in a much sleepier metropolis than Tokyo.
As in other cinematic studies of female youth hysteria, such as Sofia Coppola’s “The Virgin Suicides” and particularly Peter Weir’s “Picnic at Hanging Rock,” the crux of the narrative shifts from the enigmatic occurrence at its center to the slowly devastating impact thereof on surrounding parties.
A disant echo of The Virgin Suicides and Innocence, The Falling also nods to the hyper-real religious allegories of Bruno Dumont and shares its atmosphere with the more fantastic of the early Seventies BBC Play for Today productions.
It is impossible not to think of similarly themed classics, notably Innocence, The Virgin Suicides and Picnic at Hanging Rock.
There are echoes here of The Crucible, of Sofia Coppola’s The Virgin Suicides and of Peter Weir’s Picnic at Hanging Rock - acknowledged influences for Morley – but also of real-life incidences of the phenomenon scientists call ‘mass psychogenic illness’, including one just last year at a school in northern Colombia, where girls fainted for reasons doctors could not explain.
Alto plows no ground that hasn't been covered in films such as Kids, Thirteen and even The Virgin Suicides by Gia's aunt, Sofia Coppola.
(In fact, the film owes a heavy debt to auntie Sofia’s debut, “The Virgin Suicides,” a giant poster for which hangs in the Emma Roberts character’s bedroom.)
April’s room is adorned with a poster for The Virgin Suicides while the judge that offers Teddy a chance at redemption is provided in a cameo voiceover by the patriarch himself, Francis Ford Coppola.
It feels closer to a project from Coppola’s aunt (“The Virgin Suicides”) or maybe Gus Van Sant (“Paranoid Park”).
In addition, there are movie posters featured in the film for One from the Heart and The Virgin Suicides.
It feels authentic (Coppola even manages to make a poster for The Virgin Suicides fit in), though not real.
The ever-acerbic Kael was referencing the existential drear that so glamorously afflicted characters in '60s foreign films like " La Notte " and " 8 1/2 ."
It’s easy to see borrowed influences from Michelangelo Antonioni films (particularly L’avventura, and La Notte), perhaps inspired by a short trip Cleo and Johnny take to Italy for a ridiculous awards show.
Hot Summer Nights (2018)
Directed by Elijah Bynum
influenced by The Virgin Suicides (2000)
Visuals Themes
This is a technique lifted straight from Jeffrey Eugenides’s The Virgin Suicides (and Sofia Coppola’s subsequent adaptation of it), which is all well and good, except that there’s nothing as succinct or poetic about Hot Summer Nights, no clear idea of what it means to be a young boy that a story like this is passed down to .
Somehow managing to evoke everything from “Rushmore” and “The Virgin Suicides” to “The Sandlot” and “Goodfellas” within the first 10 minutes, “Hot Summer Nights” takes us back to 1991, when (white) America was trying to grow up without letting go of its glory days.
There’s all the grand mythology of youth, too, the stuff that makes works like Stand by Me, The Virgin Suicides, and even Stephen King’s It so irresistibly nostalgic.
While some movies wear their influences, Elijah Bynum’s insipid debut feature wears its out: the sped-up camera moves, whip pans, and cocaine hijinks of Goodfellas and Boogie Nights ; the narration of The Virgin Suicides ; the antisocial doom of Donnie Darko ; a touch of American Beauty and early Wes Anderson.
Monroe is certainly appealing, but the narrator (and every other boy in town) casts on an eye on her like this is The Virgin Suicides .
It’s easy to see borrowed influences from Michelangelo Antonioni films (particularly L’avventura, and La Notte), perhaps inspired by a short trip Cleo and Johnny take to Italy for a ridiculous awards show.
For film fans, Kubrick's Barry Lyndon and Luchino Visconti's The Leopard will immediately come to mind as visual and overall aesthetic references, but the film shares much more in common with the works of the aforementioned Malick, whose most recent work The New World similarly purported to document a bygone era via atmosphere and emotion rather than historical accuracy.
The script, by Allan Loeb ( 21 ) -- based on a short story by Jeffrey Eugenides ( The Virgin Suicides ) -- is hamfisted about tough, complicated things like loneliness and single motherhood.
Now they’re segueing to a more grounded comedy written by Allan Loeb (“21”) and based on a short story by Jeffrey Eugenides (“The Virgin Suicides”).
But the source material hints that there might be more to it than that; it's based on a short story by Jeffrey Eugenides, writer of The Virgin Suicides , a novel whose film adaptation was not exactly a laugh riot.
Based on the short story “The Baster” by Jeffrey Eugenides (“The Virgin Suicides”), the film tells the story of the friendship between successful New Yorkers Wally Mars (Jason Bateman) and Kassie Larson (Aniston).
I was reminded in some ways of Sofia Coppola 's " Lost in Translation ," with Bill Murray as a has-been actor whiling away his jet lag in Tokyo .
Hence: Cairo Time , which would sound exactly like " Lost in Translation with a middle-aged Scarlett Johansson" if I told you the plot, and would probably never sound like anything else no many how details I added.
"Cairo Time," in many ways a fitting companion piece to Sofia Coppola's 2003 contemporary masterwork " Lost in Translation ," is consistently low-key and observant, an achingly beautiful snapshot of little more than a moment in time and the impact it has on two people who, at the end of the day, live on opposite sides of the world.
This movie will no doubt be compared to Lost in Translation and Before Sunset , delicate tales of dislocated souls who find solace in other, equally dislocated souls, usually in a foreign land.
Like Tokyo in "Lost in Translation," Cairo plays a role unto itself in "Cairo Time," which like that earlier film seems steeped in an ethereal, slightly dazed sense of dislocation.
Perhaps his spin on “Up in the Air” or “Lost in Translation” or, given Michael’s paranoia that society is conspiring to tear apart this presumably true love, “The Adjustment Bureau.”
(Few other movies, besides "Lost in Translation,” perhaps, have been this good at depicting the steady-state vacuity of the generic hotel experience.)
These opening moments of the film — which Kaufman directed with Duke Johnson — are weird, mesmerizing and very funny, recalling “Lost in Translation” in their precise evocation of the rituals, creeping annoyances and numbing dislocation of travel.
Al igual que con Lost In Translation (Sofia Coppola, 2003) y Barton Fink (Joel e Ethan Coen, 1991) un hotel (con su atractivo minibar, su reducido elevador, su frustrante llave electrónica y un sinfín de tranquilizadoras variaciones de marrones y beiges que decoran habitaciones y pasillos), se convierte en una especie de limbo, en un espacio de transición donde los misterios de la vida se desentrañan, justo cuando él conoce a Lisa (voz de Jennifer Jason Leigh) una joven insegura y tímida, cuya voz le resulta una anomalía que lo hace sentirse vivo y entusiasmado.
It's a tragic stop-motion animated tale with resemblances to Lost In Translation .
For an hour things tick along like a particularly deflating episode of British sitcom I’m Alan Partridge or Lost In Translation leeched of all hope.
It Follows (2015)
Directed by David Robert Mitchell
influenced by The Virgin Suicides (2000)
Visuals Themes
Between scares it even lapses into a dreamy, teen-movie hangout mode reminiscent of Sofia Coppola’s The Virgin Suicides, or the work of Richard Linklater.
It’s sort of like if The Virgin Suicides (the Jeffrey Eugenides book, anyway, I never saw the Sofia Coppola movie) was a straight-up horror movie.
Like Mitchell’s debut feature, The Myth of the American Sleepover, It Follows takes place in a dreamy, nostalgia-swaddled Michigan suburb that owes an awful lot to the Grosse Pointe of Sofia Coppola’s The Virgin Suicides.
Rather, Mitchell seems to be charting an ominous adolescent dreamscape, in the manner of David Lynch or of cult teen movies made in Lynch's wake, such as The Virgin Suicides or Donnie Darko.
Shopgirl (2005)
Directed by Anand Tucker
influenced by Lost in Translation (2003)
Plot Themes Characters
Lost in Translation minus the cultural condescension, the chasteness, and the behavioral appeal, with another menopausal comedian enchanting a dewy starlet -- Martin as sour ruminator, but who remembers his wacky tour-de-force in Looney Tunes: Back in Action?
Shopgirl, directed by Anand Tucker ( Hilary and Jackie ) from a screenplay by Steve Martin (adapting his novella), ventures into Lost in Translation territory.
Martin spends the entire film trying to channel Bill Murray ’s performance from Lost in Translation .
You'll probably hear a lot of reviewers wearily comparing Shopgirl to Lost in Translation (2003), with all kinds of added caveats, such as: isn't it about time we put this tired old formula to rest?
Anand Tucker's cinematic adaptation of Martin's book is not only penned by the author but features him in the role of Ray Porter, the charismatic fatcat who forms one third of Shopgirl's triangular romance, though his involvement does little to stem the tide of second-rate Lost in Translation preciousness emanating from this misbegotten portrait of modern alienation.
Steve Martin is nicely subdued in the role, an effect that's getting his performance compared to Bill Murray's performance in "Lost in Translation."
The cinematography is a perfect balance of unconventionally framed and handheld shots with exquisitely balanced static shots that favourably compare to Stanley Kubrick’s Barry Lyndon.
Even if many viewers will resist, preferring the kind of safe, secure structure of an important, dusty novel, Coppola has broken new ground here, reaching the same general neighborhood as Stanley Kubrick's Barry Lyndon (1975).
Norma Shearer’s portrayal of the queen in 1938 Oscar-nominee Marie Antoinette inspired power-hungry Eva Perón to dye her hair blonde.
The film is a showcase of four fundamental things: first and foremost, Bill Murray ’s try for an Oscar nomination, and he certainly deserves one, giving a great character performance not unlike Jack Lemmon ’s role in Save the Tiger or even Kevin Spacey ’s in American Beauty .
The Last Showgirl (2024)
Directed by Gia Coppola
influenced by Lost in Translation (2003), The Virgin Suicides (2000)
But the new film — written by Kate Gersten, a Coppola clan member by marriage — can’t compare to the piercing emotional intimacy of, say, The Virgin Suicides, Lost in Translation or Priscilla, even if the raw character study at its center steadily builds poignancy.
But the new film — written by Kate Gersten, a Coppola clan member by marriage — can’t compare to the piercing emotional intimacy of, say, The Virgin Suicides, Lost in Translation or Priscilla, even if the raw character study at its center steadily builds poignancy.
While the contemporary music for Moulin Rouge! was adapted to evoke the film’s time period, the music in The Great Gatsby is used in a way more akin to the way Sophia Coppola used music in Marie Antoinette (2006).
The soundtrack for Gatsby and Daisy's love story, much like the one heard in "Moulin Rouge!" and countless other films, including Sofia Coppola's "Marie Antoinette," is gleefully way, way out of period.
If the tone of lyrical crime saga has critics name-checking Spring Breakers (the portrait of adolescent ineptitude also recalls Larry Clark’s Bully), The Bling Ring isn’t so much interested in provocation as sociology.
Unlike Larry Clark’s under-appreciated Bully, which turns another true story of teen debasement and criminality into a savagely funny dark comedy, The Bling Ring doesn’t have a particular angle on these crimes.
Like her Marie Antoinette (2006), this is a giddy celebration of glamor and privilege, lightly dressed as satire; the merciless social interactions among the kids sometimes reminded me of Larry Clark's Bully (2001), but the characters are so depthless that ultimately this lands closer to Harmony Korine's cheesy Spring Breakers.