For Interview Magazine, Coppola describes how “when you’re a kid, you’re not really thinking,” yet in an interview with Tavi Gevinson for Rookie she talks about how being a teenager is a “time when you’re just focused on thinking about things.” Whilst opposing statements, this dichotomy of thinking versus not thinking has something to say for the joy presented in her films. In The Virgin Suicides, the sisters’ joy is more restrained and pooled in memory than say, for example, Marie Antoinette. This is because the former film’s joy is a type that is thought about and constructed, be it through a bedroom that externalizes everything the sisters hold important, or the act of building a narrative through journaling. For the sisters, they exchange experiencing joy in the present tense for the immortalization of their experiences together in the past. Meanwhile, Marie Antoinette’s joy is freethinking, unapologetic, and as artificial as the pouf that adorns her head.
For Film School Rejects I wrote a piece about Sofia Coppola, Céline Sciamma, Carol Morley and Deniz Gamze Ergüven, and how they choose to represent the messy, embarrassing, romantic, joyful etc. aspects of girlhood in all its forms. It was also chosen as an editor’s pick by the Medium Staff (thanks). Read it here.