“The Virgin Suicides” film is a feast of watchers: it confirms that we are all watched and we all watch. Like George Orwell’s “Nineteen Eighty-Four,” this film reminds the viewer that we are all under constant surveillance.
Essays about Sofia Coppola’s film “The Virgin Suicides” (1999)
It took the rest of the Lisbon girls a little while longer to learn, but not much longer. Lux mostly got the lesson from Trip. Waking up to find you’ve been abandoned in the middle of a football field is a harsh way to wake up, in more ways than one, but her excursions to the roof solidified the knowledge. In the iconic shot of her with her cigarette, staring into nothing, there’s a coldness in her eyes that we hadn’t seen before, that only shows up in a girl’s face after she’s learned that she’s on her own.
I don’t know about you, but I get chills by the intimacy of the details. Her films vary in story, but no matter what the story is about—a seventeenth-century queen, spoiled teenagers in Hollywood, a middle-aged celebrity traveling in Tokyo—I know that I’m going to be enchanted by the artistry of the cinematic details that bring me deeper.
The question of who might be trustworthy is a constant point of contention in Bart Layton’s vision in the 2018 film “American Animals.” Can we trust the characters? Can we trust the real people involved in the real situation? Can we even trust ourselves as viewers? Layton creates a world mimicking that of a dream that goes beyond the idea of “zero boundaries” between what is real and what is not.
Welcome to the inaugural issue of Cinema Femme magazine, the voice of the female film experience! Cinema Femme is a digital magazine that voices the female film experience through personal essays and interviews, accompanied … Continue reading Cinema Femme Inaugural Issue — Editor’s Letter