Latest news with #SofiaCoppola
Toronto Star
24-05-2025
- Entertainment
- Toronto Star
As this Toronto-shot cult classic turns 25, a new book celebrates its dreamlike production
The first time I saw director Sofia Coppola' s 'The Virgin Suicides,' I was a 19-year-old university student. Balancing my new-found adulthood and the desire to stay rooted in my girlhood, I was fascinated by the world of the Lisbon sisters. Through Coppola's dreamy lens, I was instantly mesmerized from the opening scene, as Kirsten Dunst's Lux takes the last licks of her popsicle on her suburban street. Upon entering the film's enigmatic universe, we see lovely shots of the suburbs — someone watering a lawn, a pair of girls walking a dog, workers cutting down a tree — that make it easy to fall in love with the monotony of the Lisbons' Michigan town in the mid-1970s. If it all looks familiar, that's because 'The Virgin Suicides' was filmed in Toronto.
Yahoo
22-05-2025
- Entertainment
- Yahoo
Emma Watson Makes Rare Appearance for 2025 Cannes Film Festival
Originally appeared on E! Online is returning to the spotlight. The Harry Potter actress made her return to the 2025 Cannes Film Festival after a 12-year absence, putting her chic festival style on display as she arrived at the Nice Airport May 20. Emma wore a floral skirt, black sweater and dark sunglasses paired with black flats as she hopped off the plane. She later traded in the look for another spring ensemble while at the Palais des Festivals in Cannes, donning a sleeveless red and white checker print dress and a pair of boots. Keeping the Parisian sun out of her eyes, Emma rocked a pair of aviator style sunglasses. For her last appearance at the festival in 2013, Emma showcased her style in pieces by Louis Vuitton and Chanel as she promoted the Sofia Coppola film, The Bling Ring. Aside from occasional film appearance including in 2019's Little Women, Emma—who is dating —has maintained a life out of the spotlight as works to obtain her master's degree in literature from Oxford University. More from E! Online OnlyFans' Annie Knight Hospitalized After Sex With 583 Men in 6 Hours How Selena Gomez Is Showing Support to Hailey Bieber OnlyFans Model Bonnie Blue Arrested, Her Sister Says Prior to her time in Cannes, Emma was spotted over the Valentine's Day weekend at the 2025 NBA All-Star Celebrity Game in Oakland, Calif. In a clip shot by the ESPN TikTok account, the Circle actress was dressed casual in an all-black outfit as she blew a kiss to the camera. Emma—who graduated from Brown University in 2014—made it clear that she's happy with her decision to fall back from the public eye and acting after years of being into the spotlight. 'I get a front row seat [with] some of the most successful, beautiful, incredible people in the world,' she explained to British Vogue in 2023. 'And when you have that seat it becomes very, very clear that there is just absolutely no level of success that will make you in any way happy or content if you do not like who you are or enjoy what you're doing when no one's watching.' Keep reading for more stars at the 2025 Cannes Film Festival… Angelina JolieKristen StewartRobert De Niro & Tiffany ChenEva LongoriaAlessandra AmbrosioJulia GarnerBarbara Palvin & Dylan SprouseJuliette BinocheHeidi Klum & Tom KaulitzBella HadidJeremy StrongHalle BerryIrina ShaykAndie MacDowell
Vogue
18-05-2025
- Entertainment
- Vogue
From the Archives: Before Scarlett Johansson Was a Cannes Film Festival Regular, She Was in Vogue
'Power Starlet: Scarlett Letters,' by Sally Singer, was originally published in the March 2004 issue of Vogue. For more of the best from Vogue's archive, sign up for our Nostalgia newsletter here. Scarlett Johansson is lounging at New York's Soho House and talking about transitions, by way of explaining her penchant for slicked-back hair on the red carpet. 'I had a severe mullet when I was doing Girl with a Pearl Earring. It just kept getting more severe until I was seriously mulletized,' she states, ruffling her Warholesque shock of peroxided hair. 'I rocked the mullet for a while, which I loved, but then I decided that I wanted long hair. And a mullet is seriously painful to grow out.' The metamorphosis from mullet to mane, an awkward business of patience and improvisation (all those layers, all those spikes), would ordinarily serve as an apt metaphor of the growing pains from youth to adulthood. But the case of Johansson is one of smooth and triumphant maturation from child actress to full-fledged star. In the last year, she has earned critical respect and a popular audience with her telling performances in Sofia Coppola's Lost in Translation and Peter Webber's Girl with a Pearl Earring. In both films she plays lonely, silenced young women who experience awakenings in the company of much older men, themselves in the grip of unfamiliar yearnings. This is perhaps Johansson's greatest cinematic quality: With her oversize lips and growling voice and, most important, her stillness (says Coppola, 'She expresses emotion with very little action'), she renews our sense of mystery about the world. In person, Johansson is no more mysterious than any nineteen-year-old has a right to be. She may have starred in five films since she graduated from high school two years ago—look out for her in The Perfect Score, A Love Song for Bobby Long, and A Good Woman—but certain rites of passage are unavoidable. There's learning to drive, as any New York girl who relocates to the West Coast must do: 'Driving changes your whole life there. Your independence is granted at the DMV.' There's squabbling with her architect dad about the decor of her new L.A. home: 'I'm stuck in the fifties. He's stuck in the sixties. I want a bit of kitsch. He's from Denmark and wants things minimal. I always win because it's my apartment and he says, 'I'll do what you want.' ' And there's struggling with the metaphysics of grownup-ness: 'There's so much pressure on you to change when you get out of high school. . . . It's a harsh reality.'
Yahoo
18-05-2025
- Entertainment
- Yahoo
Scarlett Johansson says Bill Murray was 'in a hard place' filming 'Lost in Translation: ''Life has humbled him'
Scarlett Johansson and Bill Murray costarred in Sofia Coppola's 2003 hit. Johansson said Murray was in a peculiar "headspace" in a new interview. "I think life has humbled him," Johansson Johansson enjoyed sweet success following her starring turn opposite Bill Murray in Sofia Coppola's Oscar-winning 2003 hit, Lost in Translation, though she suggests in a new interview that Murray's time on the set was a more complicated affair. The Avengers franchise actress and upcoming Jurassic World Rebirth star reflected on shooting the critically lauded movie in Tokyo at age 17 in a Vanity Fair cover story, saying she was a huge fan of Murray's work in projects like Groundhog Day and What About Bob before joining him on the film, but that he "was in a hard place" while making it. "Everybody was on tenterhooks around him, including our director and the full crew, because he was dealing with his… stuff," she explained. Johansson said she hadn't encountered a costar in such a "headspace" before, which the outlet described as a "diplomatic" assessment. She then ran into Murray at the Saturday Night Live 50th anniversary special in February, where she observed him warmly interacting with people on set. "He's such a different person now," she said. "I think life has humbled him." She was then pressed on if she meant that Murray was "humbled" by allegations of misconduct levied against him, including when a crew member alleged inappropriate behavior on the set of Aziz Ansari's unfinished movie Being Mortal in 2022, which resulted in the suspension of its production. Johansson replied, 'Certainly, yes — that was really bad. But I also know COVID was a hard thing for him. Life — all these things have led up to him being held accountable for that kind of behavior." She continued, "But you know what? How wonderful that people can change." Entertainment Weekly has reached out to representatives for Coppola and Murray for comment on Johansson's remarks. In a 2022 interview with CNBC, Murray described the events on the Being Mortal set as a "difference of opinion," and he later revealed that he had kissed a crew member on the mouth while they were both wearing masks."I dunno what prompted me to do it. It's something that I had done to someone else before, and I thought it was funny, and every time it happened, it was funny," he explained to the New York Times. "I was wearing a mask, and I gave her a kiss, and she was wearing a mask. It wasn't like I touched her, but it was just, I gave her a kiss through a mask, through another mask, to another person. And she wasn't a stranger." Since filming Lost in Translation, Murray has partnered with Coppola on two additional movies: Netflix's 2015 holiday project A Very Murray Christmas and Apple's On the Rocks, a comedy also featuring Rashida Jones. Read the original article on Entertainment Weekly
Vogue
17-05-2025
- Entertainment
- Vogue
Dispatch From Cannes: Kristen Stewart Makes Her Striking Feature Filmmaking Debut With The Chronology of Water
The Chronology of Water takes its haunting title from American author Lidia Yuknavitch's 2011 memoir. And yet, few films feel as deeply personal as this debut by Kristen Stewart, who emerges here as a natural filmmaker. Like many first-time features, references abound, whether deliberate or subconscious: You can't help but think of the faded hues of Sofia Coppola's The Virgin Suicides (Coppola is even thanked in the credits for her feedback), the urgent sound editing of Terrence Malick, or even the experimental rhythm of Jean-Luc Godard. But from its opening moments, The Chronology of Water reveals itself as a film that lingers long after the screen goes dark. With Imogen Poots in the lead role, Stewart adapts Yuknavitch's memoir to depict something raw and unsparing about the female experience—its violence, its trauma, its reckonings. The result is a harrowing, nearly overwhelming work, saved—and elevated—by the radical beauty of its direction. Voiceover narration in literary adaptations is often a shortcut—a way to mask a lack of cinematic imagination. Stewart takes this risky tack with The Chronology of Water, managing to transcend the cliché. From the first scene—flickering, almost stolen underwater footage—it's clear this is a film driven by a singular vision. Water, as the title suggests, is everywhere. It becomes a realm unto itself: a space where noise fades, and with it, pain. But it's the sound design that truly disorients. The rush of water, whispers, screams—you might think the theater's audio is too loud or poorly mixed. Not so: Every element is calibrated to create discomfort, pushing the audience to the edge of horror. Horror, after all, is at the heart of Yuknavitch's life story. Abused physically, verbally, and sexually by her violent father, the author recounts in her memoir a life shaped by trauma and constant escape—literal and figurative. Swimming, BDSM, drugs, writing—all were tools for survival, ways to erase memory. Stewart conveys this violence not through graphic imagery but through sound. Though blood appears to flow freely, mingling with the purity of water, brutality is never shown head-on. Instead, she lets imagination do the work, choosing soft hues and cutting away just before the breaking point. She pushes us to the brink—then pulls back. As Yuknavitch, Imogen Poots —often an understated presence in British cinema—delivers a career-defining performance. The camera often closing in on her so tightly, it feels like we're brushing against her skin, she is both searing and stripped bare. Her body becomes the film's narrative core—abused, observed, dissected, caressed, devoured. Over the course of more than two hours, it undergoes every imaginable transformation, dragging the audience into a deeply visceral, sensory experience.
