“Sofia Coppola’s brilliant first feature, the poetic, tragic and enigmatic THE VIRGIN SUICIDES, captures the ambiguity of such hazy recollections with tender, albeit, at times, horrifying wistfulness and pain. And through the lens of adolescence – a time when the depth of feelings is often written off as merely teenage, overly-dramatic (especially female teenage overly-dramatic ) but are indeed very serious and complex. Coppola doesn’t just understand adolescent girls – and she showcases them as artistic – by the arrangement of their rooms, their dreams, their diaries.” — Kim Morgan, NEW BEVERLY CINEMA
No Future closes out its haunted summer of childhood innocence lost in the 1970s with Sofia Coppola’s beautiful and melancholic debut THE VIRGIN SUICIDES, fresh off its 20th anniversary. Adapted from Jeffrey Eugenides’s 1993 novel about the tragic deaths by suicide of five young sisters in suburban Michigan as remembered by a chorus of awestruck boys left behind, the film boldly announced Coppola’s distinctive style and point of view and positioned her as her generation’s torchbearer for father Francis Ford Coppola’s delicate films about teens in crisis.
One of the great films about girlhood, uncanny teen ennui, and the domestic horrors of suburbia, Coppola’s film is an evocative, note-perfect ‘70s-set take on the Rapunzel fairytale, anchored by music from French dream pop band Air and incredible performances from a perfectly enigmatic and tender Kirsten Dunst and Josh Hartnett as her equally cool and goofy would-be prince.
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