The director has a talent for re-defining women's stories generations on
Sofia Coppola by Michel Comte, 1993
Best known for her coming-of-age film ‘The Virgin Suicides’ Coppola is no newcomer to the film world. As the only child to titans of the industry, Eleanor and Francis Ford, Sofia made her debut in 1972 as an infant in her father’s film ‘The Godfather’. She later became the poster child for the fashion scene in the 90s, before breaking into directorial roles with several films including ‘Marie Antoinette’ and Oscar-award-winning ‘Lost in Translation’.
Aside from directing Coppola has dabbled in a number of creative works including releasing a scrapbook of archival photos, interning for Karl Lagerfeld whilst in high school, making cameos in many 90s videos, and even directing a Dior campaign in 2008.
If you have not heard of Coppola, perhaps her upcoming release will put her on your radar. Set to release in December 2023 (UK), ‘Priscilla’ is an American biographic written, directed and co-produced by Coppola. Based on Priscilla Presley’s memoir, ‘Elvis and Me’, the dramatic film, shot from Priscilla’s perspective, captures the realistic story and toxic relationship of a girl who lived in the King of Rock ‘n’ Roll’s shadow.
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Coppola expertly opens the biopic in 1959 west Germany, capturing Priscilla, (Cailee Spaeny), and Elvis’, (Jacob Elordi), first interaction. Coppola showcases their startling power dynamic through the large height difference between the actors, in one scene from the trailer, Elordi towers over Spaeny before asking her her age. Coppola transports the viewer through the violent, yet enchanting, relationship between the pair as we see Priscilla transform from a modest, homely, girl into the partner of a global sensation.
Rolling Stone
Coppola sheds light on Priscilla’s lonely existence throughout her relationship, as intimate clips show Elvis forbidding her from leaving the home, having friends of her own, or aquiring a job. This is depicted in gloomy lighting where Priscilla shines effortlessly, her porcelain skin is perfectly untouched, even when she wakes after a two-day placidly-induced sleep. Coppola presents the rose-tinted romance in it’s pragmatic form, demonstrating the all too common tale of a beautiful, promising young woman falling victim to a noxious man. As adoration turns to hate, the love story is concealed in ugliness, the desperation for finding those sweet moments of infatuation shrouds judgment just enough to create unwavering love.
Swathed in girlhood, ‘Priscilla’ delicately dances between the notion of a womans’ self acquisition and her complicated relations with the opposite sex. Coppola negates from villainising Elvis; instead portraying him as an object of lust, destined for greatness yet, ultimately succumbing to desire. Displaying a bruising tale of all-encompassing love, twisted with obsession, jealousy, fear and pain, Coppola’s version of the Elvis love story is a must-watch.
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