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Sofia Coppola: Things Left Unsaid

Things Left Unsaid celebrates the dreamy, intimate worlds of Sofia Coppola, whose exploration of loneliness through an unapologetic female gaze remains especially relevant today.

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Throughout her career, Coppola has developed an inimitable style of visual storytelling that sets her apart in the male-dominated film industry, combining her dreamlike sensibilities and a female gaze that is empathetic and tender towards her complex heroines.

We see pastels go hand in hand with loneliness; delicate visuals punctuated with an apt indie soundtrack. The objects and gestures in Coppola’s worlds are just as important as conversations between characters, which are few and far in between. Not much is said in a Coppola film, yet much is seen and felt and evoked.

This retrospective looks at Coppola’s growth as a filmmaker whose films are guided by feeling, engendered by aesthetic. Starting from girlhood classic The Virgin Suicides (1999), Oscar-winning Lost in Translation (2003), gothic ‘pretty horror’ The Beguiled (2017) and more, Coppola creates intimate worlds where characters do not speak often, but everything else in the frame does.

Limited additional screenings of Lost In Translation are available for booking on 1 & 9 April by popular demand!

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The Bling Ring (2013)
90 min | M18 (Drug Use and Coarse Language)

Showtimes
5 Mar, Sun | 4.30pm
11 Mar, Sat | 2pm
19 Mar, Sun | 4.30pm
25 Mar, Sat, 2pm

Continuing her minimalist style and deceptively documentarian feel of Somewhere, The Bling Ring is set in the fame-obsessed world of Los Angeles, a group of teenagers use the internet to track their favourite celebrities’ whereabouts in order to rob their homes. Based on the fascinating true events of teenage burglars who stole more than $3 million in luxury goods from the homes of stars like Paris Hilton and Orlando Bloom.
The Virgin Suicides (1999)
97 minutes | PG

Showtimes
19 Feb, Sun | 2pm
25 Feb, Sat | 2pm
4 Mar, Sat | 2pm

A must-watch primer for any Sofia Coppola retrospective, The Virgin Suicides sees Coppola’s distinct aesthetic sensibility (soft-focus shots, handwritten intertitles), and perfectly placed indie soundtrack culminate in a dreamy, pastel-filled feature. Coppola expertly captures painfully relevant girlhood experiences – when everything seems interesting, important, and intense – “Obviously, doctor, you’ve never been a 13-year-old girl.”
Lost in Translation (2003)
101 minutes | M18 (Some Nudity)

Showtimes
11 Feb, Sat | 4.30pm
12 Feb, Sun | 2pm
18 Feb, Sat | 2pm
19 Feb, Sun | 4.30pm
25 Feb, Sat | 4.30pm
26 Mar, Sun| 4.30pm

LIMITED SCREENINGS BACK BY POPULAR DEMAND

1 Apr, Sat | 11am
9 Apr, Sun | 2pm

A disenchanted movie star connects with an equally adrift newlywed in a hotel bar in Tokyo. Crossing the language and custom barriers around them, the two bond deeply over the multidimensional mysteries and marvels of an atmospheric Tokyo, and life itself. The palpable loneliness in the film is heightened by dizzying shots of the bustling city interjected with scenes of the emotionally alienated leads, played with understatement by Bill Murray and Scarlett Johansson, staring out of their sterile hotel rooms. Lost in Translation won Coppola Best Original Screenplay at the 76th Academy Awards and other accolades, firmly placing her as a filmmaker to be reckoned with.
The Beguiled (2017)
94 min | M18 (Sexual Scene)

Showtimes
12 Feb, Sun | 4.30pm
18 Feb, Sat | 4.30pm
26 Feb, Sun | 2pm
12 Mar, Sun | 4.30pm
18 Mar, Sat | 2pm

A re-telling of the original 1971 movie, Sofia Coppola’s The Beguiled explores female group dynamics in 19th century Virginia, with haunting performances by Nicole Kidman, Kirsten Dunst, Elle Fanning, and Colin Farrell as their object of lust and suspicion. Underlying tensions and pointed glances bubble in every scene, until it finally erupts at the dinner table. Coppola won the Best Director Award for the film at the 2017 Cannes Film Festival, making her the second woman to win in that category.
Marie Antoinette (2006)
123 min | PG (Sexual Innuendos)

Showtimes
11 Feb, Sat | 2pm
4 Mar, Sat | 4.30pm
12 Mar, Sun | 2pm
18 Mar, Sat | 4.30pm
25 Mar, Sat | 4.30pm
26 Mar, Sun | 2pm

First booed in Cannes in 2006 for painting a seemingly frivolous take on a historical French figure, Sofia Coppola chooses to empathise with her Marie Antoinette – a teenage girl who is thrust into the limelight amidst opulent indulgences, games of royal politics, her burgeoning sexuality, and eventually her brutal fate. Marie Antoinette is unexpectedly anarchist in its anachronistic choices – punk music fills the halls of Versailles, a cheeky Converse cameo in a row of 17th century heels, and Kirsten Dunst navigating the French courts with an American accent. It’s iconic Coppola with cakes, pearls and lonely girls.
Somewhere (2010)
98 min | NC16 (Some Nudity)

Showtimes
26 Feb, Sun| 4.30pm
5 Mar, Sun | 2pm
11 Mar, Sat | 4.30pm
19 Mar, Sun | 2pm

Dissolute Hollywood star Johnny Marco spends his days in the luxurious Chateau Marmont Hotel in Los Angeles. A surprising visit from his 11-year-old daughter Cleo pushes him to slowly reckon and reconcile a deep-seated loneliness in his empty, glamorous lifestyle. This is Sofia Coppola’s most personal film and her most quiet (both in dialogue and visuals), allowing the achingly tender moments between father and daughter to fill the screen.
The Bling Ring (2013)
90 min | M18 (Drug Use and Coarse Language)

Showtimes
5 Mar, Sun | 4.30pm
11 Mar, Sat | 2pm
19 Mar, Sun | 4.30pm
25 Mar, Sat, 2pm

Continuing her minimalist style and deceptively documentarian feel of Somewhere, The Bling Ring is set in the fame-obsessed world of Los Angeles, a group of teenagers use the internet to track their favourite celebrities’ whereabouts in order to rob their homes. Based on the fascinating true events of teenage burglars who stole more than $3 million in luxury goods from the homes of stars like Paris Hilton and Orlando Bloom.
The Virgin Suicides (1999)
97 minutes | PG

Showtimes
19 Feb, Sun | 2pm
25 Feb, Sat | 2pm
4 Mar, Sat | 2pm

A must-watch primer for any Sofia Coppola retrospective, The Virgin Suicides sees Coppola’s distinct aesthetic sensibility (soft-focus shots, handwritten intertitles), and perfectly placed indie soundtrack culminate in a dreamy, pastel-filled feature. Coppola expertly captures painfully relevant girlhood experiences – when everything seems interesting, important, and intense – “Obviously, doctor, you’ve never been a 13-year-old girl.”