Advertisement

sofia coppola is making a female revenge fantasy

It has all her favourite things -- teenage girls, sexual awakenings and a looming sense of doom.

by Wendy Syfret
|
31 March 2016, 9:30am

Sofia Coppola on the set of The Virgin Suicides with Kirsten Dunst

If you loved Lost in Translation but thought Charlotte should have killed, not kissed, Bob in the end, we have good news. Also, what's wrong with you? 

Sofia Coppola has confirmed her next project will be an all-female take on Clint Eastwood's 1971 drama The Beguiled. While it might feel random to see the famously dreamy director take on the low-talking gun-slinger's world, the original film is surprisingly Sofia-esque. It follows a wounded Civil War solider as he takes refuge in an isolated girl's school and becomes the subject of the student's manipulative sexual desires -- things turn nasty when he decides he wants to leave. Think of it as The Virgin Suicides with Clint Eastwood and more sex-ed. Oh, and it's not the girl's blood that's spilled at the end.

So far we don't know how much of her usual soft lensed, Phoenix-soundracked style she plans to bring to the project; but we bet she'll do something pretty special with the girls' uniforms. We're politely suggesting Simone Rocha's ultra-feminine, impossible combination of gothic-lightness, as seen at her S/S16 show, for inspiration.

According to reports, Coppola is hoping to cast former muses Kirsten Dunst and Elle Fanning alongside Nicole Kidman. There's no news on who would play the unfortunate solider, but considering the reunion so far we think it would be pretty cool to see 2000s teen dream Josh Hartnett (who co-stared with Kirsten in The Virgin Suicides) in the role. He's already got the gunslinging skills from his day-job as Eva Green's object of desire in Showtime's pulpy supernatural thriller Penny Dreadful.

While it's clear Sofia will have the quiet sexual oppression/awakening part down, the film's ultimate revenge plot will be new ground for her. Although it could provide a convenient opportunity to rebut past criticism that claims her films get stuck in the ethereal and fail to move beyond their visual fixation. Hey, nothing a bit of female-lead violence won't fix.

Credits


Photography courtesy Focus Features