Apple has the trailer for Sofia Coppola’s Somewhere starring Stephen Dorff and Elle Fanning. I haven’t decided if I want to watch it any more carefully than I did to get this screen grab. This is one of those pre-sold deals even though I’m skeptical of the basic plot as I said when I posted the one-sheet.

16 Responses to “Trailer: Sofia Coppola’s ‘Somewhere’”

  1. the trailer does a good job of making it look like a sequel to “Lost in Translation”.

    ….which is fine by me, I should add

  2. It’s definitely got a LiT vibe to it, though based on the synopsis, it seems more external storywise. More overtly dramatic. Potentially.

    This teaser is clearly designed to reach Coppola fans thouigh.

  3. I’m losing interest in Sofia as I grow older. I’m begining to become one of those “grow some real problems” kinda guys in response to her work. It is less about any one film than the cumulative filmography that is being formed.

  4. Geez Chuck, you feel the same way about Woody Allen and Wes Anderson? Cause I’d level that sort of comment towards them faster than I would Coppola.

    Personally, I’m looking forward to this.

  5. Re: Woody Allen

    Yes, I feel the same way. I haven’t, and Craig has heard many of the complaints, liked a Woody Allen movie in years.

    Re: Wes Anderson

    I did at one point, but his last few movies have brought me back into the fold with him.

  6. I don’t know. “Real” problems are sort of subjective. Just because someone is materially comfortable or artistically successful, for me it doesn’t lessen whatever psychological shit they’re working through and in many cases complicates it interestingly.

    I say this of course as someone who could muster NO sympathy for what i perceived as the made up problems of the people in Please Give so take that for what it’s worth.

  7. I won’t argue Allen because I’m not a huge fan of his work. As for Anderson, I think his last two films have actually dug deeper into the emotional baggage all his films carry, but what initially attracted me to him (his visual style, characterizations, and dialogue) are now simply magnifying the repetitive nature of his work. That’s not necessarily a bad thing, but I’ve grown tired of it.

    I suppose I can see how you might react that way to Coppola as opposed to Anderson, although I think he generally gets more of a pass for being whimsical and clever than she does.

  8. Though obviously there are a core of critics who fawn over her, Sofia does seem to get a lot less slack than some of her similarly aged counterparts.

    Part of it I think is her last name, but I think there’s a gender component too.

    Then again, Spike Jonze, Wes Anderson et al do tend to take their share of shit.

  9. I think S. Coppola BENEFITS from her name and her gender, because so many people are self-conscious of calling her out because of her name and her gender, and when someone says they are tired of her, name and gender are usually two of the things first brought up.

    My issue with Sofia, more specifially (and the “real problems” complaint is awfully glib and unspecific…admittedly) is that all of her movies play like doodles for movies that have yet to actually be made. Every picture feels like the work of a talented, painfully self-conscious girl wondering if she should make a movie on that subject. It reminds me of that funny bit in Adaptation, when Brian Cox more or less says to Nic Cage ” if nothing happens in life then why are you telling me this fuckin story.”

    Not EVERY story is purefly subtextual and stunted and fashionable and implied – and I can’t help but think (like her other detractors) that all of these affecations mask what is essentially no view point. It is telling, I think, that MARIE ANTIONETTE is Coppola’s best movie – her non-movie approach is refreshing to the same stuffed-shirt period piece shit.

  10. “I think S. Coppola BENEFITS from her name and her gender, because so many people are self-conscious of calling her out because of her name and her gender, and when someone says they are tired of her, name and gender are usually two of the things first brought up.”

    Really? What stuck-up blogs do you frequent? (heh heh) I get your meaning, Chuck, but I agree with Craig that more often than not Coppola is easily dismissed as Hollywood nepotism and (as you said) “painfully self-conscious little girl.” And that brief acting stint is quite the albatross too.

    It’s funny though that you bring that up because Wes Anderson (and all the other hip 30-something male directors that ape him) are “man-children” while Coppola is the “little girl.” I’m not pointing a finger at you, but it’s curious that we have such gender-biased euphemisms for essentially the same thing.

    I don’t mind Coppola’s “non-movies.” I’ve gotten more enjoyment out of them then I have most of her peers’ work in the last 10 years.

  11. “all of her movies play like doodles for movies that have yet to actually be made.”

    You say that like it’s a bad thing. I doubt she’ll ever again find the cinematic alchemy that was Lost in Translation but I also greatly enjoyed Marie Antoinette and look forward to her latest work. I don’t give a fig what her name or gender is, although the latter I think contributes to a unique sensibility and point of view that I’m glad is out there. I appreciate it doesn’t work so well for you and feels repetitive, Chuck. But your complaint against her work strikes me as the equivalent of dismissing abstract paintings for not being figural. Each representational approach offers different ways to access matters of substance and truth. I admire Coppola’s ability to compose more purely cinematic experiences – simulating the sensory and emotional ephemera that accompanies certain kinds of emotional/intellectual states.

  12. I tend to agree with Chuck’s points, though I’m not particularly “down” on Sofia so much as I am merely indifferent to her indifference…

    I honestly don’t care for any of her films, though Virgin Suicides did show flashes of promise.

  13. Hey, Alexander! Long time no see!

  14. Hello, Alison! How are you?! :-)

  15. I notice more push back against Sofia than I do fawning, but it might just be my perspective.

    They work for you or they don’t and that’s fine, but I don’t find her movies indifferent at all. Both Lost in Translation and Marie Antoinette hit me emotionally in a way that most movies totally fail to.

    If she keeps pounding the same note over and over without growing, I’m liable to get tired of it… and as I’ve said already I’m skeptical about Somewhere, even the title… but she hasn’t squandered the good will I have for her and I’m going to wait and see.

  16. So we’ve got a celebrity who looks to have an emotional emptiness inside him that needs filling, a high-end hotel, a winsome young girl with a wide eyes that are still clinging to their innocence, an exotic location most of us haven’t experienced, quietly seductive cinematography and a soundtrack calculated to exactly match each scene?

    Why would anyone think she hasn’t grown?

    On the other hand, I’m very much looking forward to the film. Sophia usually finds ways to surprise me.

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