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Emma Watson Covers "Elle"

15 August 2017 3:13 PM, PDT | SneakPeek | See recent SneakPeek news »

Take a look @ images of  actress Emma Watson in a recent issue of "Elle" (UK) fashion magazine, photographed by Kerry Hallihan:

Watson rose to prominence playing 'Hermione Granger' in the "Harry Potter" film series starting at the age of nine, having previously acted only in school plays. She starred in all eight "Harry Potter", earning her several awards and millions of dollars.

Watson made her modelling debut for "Burberry's" autumn/winter campaign in 2009. Her film credits include "Ballet Shoes" (2007), "The Tale of Despereaux" (2008), "My Week with Marilyn"(2011) and "The Perks of Being a Wallflower" (2012).

She also appeared in "This Is the End" (2013), "The Bling Ring" (2013), "Noah" (2014), "The Circle", "Regression", "The Colony" and "The Vicar of Dibley".

Click the images to enlarge and Sneak Peek Emma Watson »

- Michael Stevens

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‘Good Time’ Has One of the Most Memorable Original Scores of the Year — Stream It Now

11 August 2017 12:33 PM, PDT | Indiewire | See recent Indiewire news »

The list of the best scores of the year already includes “A Ghost Story,” “War of the Planet of the Apes,” and “Dunkirk,” and as of this weekend we can officially add “Good Time” to the roster. The Safdie Brothers’ wild New York City drama features original music from Oneohtrix Point Never, and it’s so effective in building the movie’s sense of unpredictable danger that even listening to it without the film is an anxiety-inducing experience.

Read More:Why the Safdie Brothers Decided to Put Robert Pattinson in Their Gritty World of New York Amateurs

Good Time” stars Robert Pattinson as Constantine “Connie” Nikas, a small town criminal who embarks on a dangerous journey to get his brother out of jail after a bank robbery goes wrong. The supporting cast includes Benny SafdieBarkhad Abdi and Jennifer Jason Leigh. The movie premiered to acclaim at Cannes, where IndieWire called »

- Zack Sharf

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Studios Released Just 7 Films Directed By Women This Summer, and They Might Break the Billion-Dollar Mark

11 August 2017 10:43 AM, PDT | Indiewire | See recent Indiewire news »

Girl Talk is a weekly look at women in film — past, present, and future.

Thank Patty Jenkins — and then thank all the other wonder women who lit up this summer at the box office. This summer, studios released only seven films directed by women (that’s including speciality arms, and even a co-directed production), but the massive success of Jenkins’ “Wonder Woman” is poised to push the total take of female-directed studio films over $1 billion.

Nothing sings quite like “a billion dollars” in Hollywood, but what’s even more heartening is the variety of films in this small group.

Wonder Woman” is the story of the summer, an $800 million superhero that established Jenkins’ supremacy as director of the highest-grossing live-action movie directed by a woman and reestablished the solvency of the creatively stifled Dceu. It also made plain just how desperate audiences are for female-focused blockbusters. The film stayed in »

- Kate Erbland

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Movie Review – The Beguiled (2017)

12 July 2017 4:30 AM, PDT | Flickeringmyth | See recent Flickeringmyth news »

The Beguiled, 2017.

Directed by Sofia Coppola

Starring Nicole Kidman, Kirsten Dunst, Elle Fanning, Colin Farrell and Angourie Rice.


During the American Civil War, a girl from a Confederate boarding school discovers a wounded Union soldier.  She takes him back to the school, where his wounds are looked after by the headmistress, her assistant and the other pupils.  As he recovers in this all-female world, his presence affects everybody and they all vie for his attention.

Sofia Coppola films always seem to grab attention at Cannes, either by accident or design.  Remember The Bling Ring (2013), when life bizarrely imitated art?  This time round, she won the Best Director accolade for a film that could far too easily be described as yet another re-make.  That would be too easy – and nothing less than facile.

The original version of The Beguiled (1971) is usually described as a Clint Eastwood movie, with the film »

- Freda Cooper

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Why Sofia Coppola Should Not Make a Studio Movie

7 July 2017 12:27 PM, PDT | Indiewire | See recent Indiewire news »

Girl Talk is a weekly look at women in film — past, present, and future.

Armed with an Oscar and a distinctive filmmaking sensibility, Sofia Coppola may seem like the sort of filmmaker primed to make the jump to big studio movies. Who wouldn’t want more money and a bigger stage to spend it on? Well, Coppola doesn’t — and she’s right to stay away.

A recent article in Variety questioned if Coppola “may be trapping herself in a boutique bubble of her own,” asking if “perhaps her next move should be to work on a larger scale, to mix it up in some way, to shake herself out of her comfort zone.” Yet the filmmaker has roundly rejected such demands to somehow inflate her portfolio in the name of “growth,” balking at blockbusters and sequels, and resisting the notion that her projects should primarily exist to make a lot of money. »

- Kate Erbland

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Sofia Coppola: Do Audiences Still Want to Look Through Her Gaze?

4 July 2017 10:25 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Is Sofia Coppola ever going to take it to the next level? The answer may be no, and that could be fine. I consider myself a Coppola fan (though I didn’t care much for “The Beguiled”), and part of me thinks that she’s in the perfect place and always has been. In a directorial career that stretches back 18 years, she has made just six features. Only one of them, “Lost in Translation” (2003), ever put her at the center of the white-hot center. Tellingly, it was the one time that she deigned to build an entire film around the personality of a movie star (no slight to Scarlett Johansson, who’s terrific in it, but that movie is defined by Bill Murray), and I feel like I understand why she hasn’t done it since. It’s part of her lone-wolf art mystique. The real star of her movies is Sofia Coppola. Which »

- Owen Gleiberman

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Sofia Coppola: The Specific Touch of Femininity

23 June 2017 8:15 AM, PDT | MUBI | See recent MUBI news »

The Virgin SuicidesIn 2015, three significant films were released: Deniz Gamze Ergüven’s Mustang, Mélanie Laurent’s Breathe and Céline Sciamma Girlhood. All three are female stories devoid of the faux candor associated with many male-directed ‘women’s stories.’ There is an astonishing amount of authenticity in these wildly different films, each playing with explorations of the teenage girl psyche with wildly differing results. In Mustang, we met girls whose spirits could never be broken, no matter the odds or imprisonments they faced, from societal to literal, when they’re confined in their home. In Girlhood, we learned these imprisonments could be as psychological and socially constructed as the physical bars placed on their windows in Ergüven’s feature. And in Laurent’s psycho-drama, we face the realities and interplay of teenage cruelty and intimacy found in female friendships in that developmental stage. These films aren’t playing to strictly a female audience, but they feel refreshingly tailor-made to do so. They’re offering up honest and raw depictions of girlhood and femininity on the creative landscape and it was often beautiful, sometimes tragic and all together worth celebrating. It’s something that filmmaker Sofia Coppola has been doing her entire career, and her latest release, the remake of The Beguiled, drives home this point further.Over the course of her career Coppola has developed a distinctive approach to her filmmaking. Her distinct style utilizes—and nearly favors—visuals as a means of storytelling (I’d argue she could tell the same stories in silence with her visual finesse). Along the way she’s also developed an unabashed feminine perspective that, combined with her eye for stylish filmmaking, has set her apart from her male contemporaries. She isn’t just telling stories about women but imbuing them with a sense of femininity.It starts with color, building a point of view from a vibrant palette and the way in which the cinematography capture each female character. A common complaint in current cinema—particularly in blockbusters and tentpole films—has been the gray color grading. Movies that should pop ultimately end up blending in with their background. Coppola defies this expectation, relishing in the pinks of the hats Marie Antoinette or in Scarlett Johansson’s wig in Lost in Translation. She finds color in the yellows of the kitchen in Somewhere—the sunlight radiating through the shades covering a window—or in the baby blues of the sky whizzing past Antoinette. We see the blues that swallow Elle Fanning whole in Somewhere as she hosts a tea party beneath the surface of a pool. She utilizes stark whites in Antoinette's lavish, daisy-infested fields and the sun-bleached morning-after in The Virgin Suicides. Her color palette is distinctive and gives her films a fantastical atmosphere, adding to their unabashed femininity. Her colors aren’t loud and vibrant or muted and hollow, serving as much of a purpose as her storytelling.Her films’ image subvert the male gaze by never allowing the female characters to be exploited as they view her cinematic universe instead through a female friendly lens. We watch the sisters of The Virgin Suicides from afar, sure, and Johansson is sometimes looked at through the eyes of Bill Murray, but more often than not we’re given looks into the worlds of female characters born into male-dominated spaces. Their inclusion is worthy of curiosity, judgement, disdain or damaging admiration. As Roger Ebert once said in a review for Marie Antoinette:“This is Sofia Coppola’s third film centering on the loneliness of being female and surrounded by a world that knows how to use you but not how to value and understand you. [...] Every criticism I have read of this film would alter its fragile magic and reduce its romantic and tragic poignancy to the level of an instructional film. ”When we meet most of Coppola’s delicate, youthful characters in moments of severe isolation—be it on a lonesome carriage ride through a foggy morning, alone in an expansive hotel room meant for two, or in a household where rules are inflicted to keep its inhabitants sheltered and painfully lonely. From The Virgin Suicides to this year's The Beguiled, Coppola has depicted isolation as one of her major themes, approached particularly through the specific point of view.The femininity comes from Coppola’s understanding of these women beyond their psychological or physical cages. So often in films about women, the female characters exist without any sense of female identity; they’re simply judged on their actions, their features or what a wider audience can relate to. Movies about weddings, having children and being mothers and girlfriends play on tropes of what it means “to be a woman” without exploring what it means to be a woman. Coppola, typically working from a place of interested in adolescents mature beyond their years, shows rather than tells us aspects of being a woman through all historical settings and walks of life. Throughout much of cinema’s mainstream history we’ve been told just exactly what it means “to be a man,” definitions that may have changed throughout the decades but have still been firmly covered in a layer of masculine attitude. We have films that dedicate their stories from a male character's birth to their death, detailing the ins and outs of what makes that particular guy tic. For women that sort of nuance through different time periods is much more difficult to come across, and it’s why voices such as Coppola’s are so poignant; they reach and grab hold of those looking for stories they can relate to, that mirror who they are or were in certain periods of their lives. (Until this point, she has had little to no diversity in her films and is mainly showcasing white femininity. Hopefully this is something she’ll change in the future.)All of this makes her directing The Beguiled remake so fascinating. Originally filmed by Don Siegel, adapted from Thomas P. Cullinan’s novel, and starring Clint Eastwood as Corporal John ‘McBee’ McBurney, this is a man’s story: after being wounded during the Civil War, McBurney is taken in by a Southern all-girls boarding school. The female characters are more sinister and less sympathetic. In Coppola’s version there are similar tropes of the mighty headmistress and the school’s young seductress, but yet again, we’re given these depictions through the female point of view; these women have increased agency as we see the story unfold from their worldview. As is the case with The Virgin Suicides, the girls of the boarding house are kept inside and isolated for their own safety, making them curious about and isolated from the outside world. Like with Marie Antoinette, it’s women living amidst the mess men have made, thrown into a society that has displaced them. Coppola’s themes are undoubtedly recurring, flexible and timeless enough to be able to encompass all walks of life that women can identify with, spread wide across history.Coppola’s films are full to the brim with unabashed and gleeful femininity. It’s shown in the way Fanning's role of the daughter in Somewhere is polished and poised, showcasing the wisdom girls possess from a young age as she helps her father (Stephen Dorff) out of his jaded shell. It’s in the naiveté of the sisters of The Virgin Suicides, but also in their world weariness in the face of boyish neighbors who take interest in the reclusive girls. Coppola dismantles the idea of depicting mysterious and shielded women as enigmas rather than humans. We see it in casual shots of modern Converse shoes scattered amongst decadent heels in Marie Antoinette, or in its titular character enjoying the pleasures of sex at her own pace. It is in Johansson’s unyielding gaze and youthful yearning in Lost in Translation and hell, even Emma Watson’s self-absorption in The Bling Ring. To be a female character in Coppola’s film is more than presenting a gender or a trope but instead the director makes the “radical” decision to depict women in all of their grace, kindness, misery and determination in ways that feel very honest. »

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How ‘The Beguiled’ Star Kirsten Dunst Took Control of Her Career by Owning Her Taste for Depressives, Smart Directors, and Powerful TV

22 June 2017 3:03 PM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »

Welcome to Career Watch, a vocational checkup of top actors and directors, and those who hope to get there. In this edition we take on Kirsten Dunst, who steals the show from Nicole Kidman and Colin Farrell in Cannes director-winner Sofia Coppola’s Civil War potboiler “The Beguiled” (June 23, Focus Features). It’s her fourth collaboration with Coppola.

Bottom Line: Dunst steered toward playing strong women from an early age, with films that include political comedy “Dick” with Michelle Williams, John Stockwell’s “Crazy/Beautiful” with Jay Hernandez, and Peyton Reed and Jessica Bendinger’s cheerleader sleeper “Bring It On,” shot the year she graduated from Los Angeles’ Catholic high school Notre Dame. She has never settled for The Girlfriend or romantic lead, although she made a memorable Mary Jane Watson in the “Spider-Man” franchise. “Looking back, I’m proud of the choices that I’ve made,” she said. “A »

- Anne Thompson

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How ‘The Beguiled’ Star Kirsten Dunst Took Control of Her Career by Owning Her Taste for Depressives, Smart Directors, and Powerful TV

22 June 2017 3:03 PM, PDT | Indiewire | See recent Indiewire news »

Welcome to Career Watch, a vocational checkup of top actors and directors, and those who hope to get there. In this edition we take on Kirsten Dunst, who steals the show from Nicole Kidman and Colin Farrell in Cannes director-winner Sofia Coppola’s Civil War potboiler “The Beguiled” (June 23, Focus Features). It’s her fourth collaboration with Coppola.

Bottom Line: Dunst steered toward playing strong women from an early age, with films that include political comedy “Dick” with Michelle Williams, John Stockwell’s “Crazy/Beautiful” with Jay Hernandez, and Peyton Reed and Jessica Bendinger’s cheerleader sleeper “Bring It On,” shot the year she graduated from Los Angeles’ Catholic high school Notre Dame. She has never settled for The Girlfriend or romantic lead, although she made a memorable Mary Jane Watson in the “Spider-Man” franchise. “Looking back, I’m proud of the choices that I’ve made,” she said. “A long career is up to you. It’s your barometer of taste and the choices you make as an actress inform how other people look at you and if they want you in their movies. So you have to be wise.”

Career Peaks: A model from the age of three, the child actress shot out of a cannon when she won a worldwide search for 11-year-old Claudia, starring opposite Tom Cruise and Brad Pitt in “Interview with the Vampire,” Neil Jordan’s fabulously kinky 1994 take on the Anne Rice classic. Dunst has long leaned into women’s subjects and directors, from Gillian Armstrong and Robin Swicord’s “Little Women” and Leslye Hedland’s raucous “Bachelorette,” to Coppola’s Cannes breakout “The Virgin Suicides,” shot when she was 16.

That film marked her segue to more adult roles. “I was sexualized,” Dunst told me, “but through her lens, which was such a wonderful way to be transitioned. There was nothing grotesque, even though I was doing things in that film that I was uncomfortable doing. I’d stress out about ‘Oh, I have to make out with that boy on the roof,’ but Sofia would just have me nuzzle into the side of their face. Even though I was blossoming, it was not something I was comfortable with yet. She really opened that door for me.”

Dunst went on to star for Coppola as a coquettish queen in the title role “Marie Antoinette,” and cameoed in “The Bling Ring.”

Assets: Beyond sexual allure, Dunst brings depth and mystery. She can play the girl next door (“Spider-Man”), a drunk bride peeing on the lawn in the moonlight in her wedding dress (“Melancholia”), an imperious 18th-century queen (“Marie Antoinette”), or a racist Nasa administrator (“Hidden Figures”). She has a steely edge, as well as a wicked sense of humor. Her career pivot came before 2010 Ryan Gosling two-hander “All Good Things,” when she started to meet with acting coach/therapist Greta Seacat (who also works with Coppola).

While Dunst always picks projects based on directors, she credits Seacat with a total game change “in terms of acting and how I approach things,” said Dunst. “And now it’s all about me. It’s cathartic for me. It’s my thing, it’s my experience, it’s nothing about pleasing anyone else but myself. And it all comes from me, so I have so much more control than anybody else; it’s all about my own inner life. By the time I get to set, I’m so prepared no one needs to direct me. No one needs to tell me anything. I feel so powerful with what I have to bring, that making movies is for myself now and it’s like getting rid of poisons. Like if you went to a therapist all the time, but I get to do it by acting out anything I want to, so that’s a powerful tool.”

She draws the line at too much nudity, and turned down a sexy role in another Lars von Trier movie. “I would work with him again,” she said. “It just depends on the part because he loves exposing… like Charlotte Gainsbourg, she has a less curvaceous body, so it’s less assaulting to see than if someone with larger breasts and more womanly-shaped did some of the things she did in movies.”

Biggest Problem: As she has come into a strong sense of her own identity, Dunst is making career choices for herself, not her fans. She’s not looking to please anyone else or playing the movie-star game, as evidenced by her maverick choices, from “Melancholia” to “Fargo.” “Only Lars and Pedro Almodovar write these incredible, messy roles for women,” she has said.

Awards Attention: She won Best Actress at Cannes for her hilariously depressed bride in Lars von Trier’s comedic end-of-the-world tragedy, “Melancholia,” after being quick enough on her feet to survive a disastrous Cannes press conference when her director went off the rails. While she earned plaudits and a Golden Globe nomination for Season Two of “Fargo” as the deeply flawed murderess Peggy Blumquist, she’s never earned an Oscar nomination. “The Beguiled” could be her first — she’s earning raves across the board.

Next page: Dunst scribes her character in “The Beguiled”: “Edwina would be me at my worst, working on a film that I don’t want to be on.”

Related storiesHow Controversies Can Hurt Movies Before They're Released -- IndieWire's Movie Podcast (Screen Talk Episode 154)'The Beguiled' Exclusive: Here's What It's Like to Work On A Sofia Coppola Set -- WatchSofia Coppola Explains Why She Left Her Ambitious Take on 'The Little Mermaid' »

- Anne Thompson

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22 Of The Best Revenge Films

22 June 2017 11:01 AM, PDT | The Playlist | See recent The Playlist news »

Fresh off becoming only the second woman ever to capture the Best Director award at the Cannes Film Festival last month, Sofia Coppola’s artistry lands in theaters everywhere for the first time in four years (“The Bling Ring”) with her Civil War-era revenge thriller “The Beguiled.”

Coppola’s Palme d’Or contending adaptation of the novel by Thomas Cullinan features a plethora of talent including Nicole Kidman, Kirsten Dunst, Elle Fanning and Colin Farrell.

Continue reading 22 Of The Best Revenge Films at The Playlist. »

- Oliver Lyttelton

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'The Beguiled': How Sofia Coppola Reimagined a Macho Seventies War Film

22 June 2017 5:38 AM, PDT | | See recent Rolling Stone news »

Up until a few years ago, Sofia Coppola swore she would never do a remake. Then her production designer, Anne Ross, brought Don Siegel's 1971 pulp classic The Beguiled to her attention – and the director saw a film ripe for retelling. A group of Southern belles are holed up at an all-girls school during the Civil War; suddenly, the young women and their headmistress have their isolated existence disrupted by a wounded Union soldier. Nearly half a century ago, Clint Eastwood's Corporal John McBurney behaved as if he had arrived at a brothel, »

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Interview: Costume Designer Stacey Battat Talks Creating the Fashions of “The Beguiled”

21 June 2017 7:04 AM, PDT | Women and Hollywood | See recent Women and Hollywood news »

The Beguiled”: Ben Rothstein/Focus Features

Costume designer Stacey Battat’s latest film is “The Beguiled,” which happens to be her fourth collaboration with filmmaker Sofia Coppola. Starring Nicole Kidman, Kirsten Dunst, and Elle Fanning, the film is a Civil War-set psychological thriller that focuses on a Southern girls’ boarding school and the chaos that ensues when a wounded Union soldier (Colin Farrell) arrives. The film has been generating a great deal of buzz since its debut at the 2017 Cannes International Film Festival, where Coppola won a Best Director prize.

Battat’s career as a Hollywood costume designer started in 2007 on Zoe R. Cassavetes’ indie film “Broken English.” Battat has since worked on a number of films including “Freeheld,” “Still Alice,” “What Maisie Knew,” and “The Disappearance of Eleanor Rigby.” She has also designed costumes for a host of TV projects including “Mozart in the Jungle” and “Girls.” “The Bling Ring,” “Somewhere,” and Netflix’s “A Very Murray Christmas” are her previous collaborations with Coppola.

Women and Hollywood spoke to Battat about her costume choices, working with Coppola and “The Beguiled” cast and crew, the research it took to bring these strong but embattled women to life, and how costume design is the one Hollywood profession dominated by women.

The Beguiled” opens in limited release June 23, followed by a wider release June 30.

W&H: What was it like to work on a period piece set in the Civil War?

Sb: This was my first period movie. I had worked on a period TV show (“Z: The Beginning of Everything”), but [working on a film] is a big difference in a lot of ways. It has to be authentic. You can’t decide at the last minute that you wish a costume is red because you have already made it or rented it. That’s not an option. You have to really decide what is going to happen in advance.

W&H: Coppola has an atmospheric style in this film and your costume choices seem to fall right in line with its palette and lighting. What was your collaboration like with her and the other designers?

Sb: We always sit down and talk before production begins. So Anne Ross, the production designer, Sofia, myself, Philippe Le Sourd, our cinematographer, and film editor Sarah Flack sat down to talk about what kind of mood we wanted to create for this movie. I think we work together in a congruous way. It’s also nice to work with the same people over and over because you develop a similar language.

In this particular case, we wanted the film to be eerie but also beautiful. We talked about the film being ethereal, about the characters feeling like ghosts that had been left behind, about the clothes having a diaphanous quality, about light passing through the trees.

W&H: How did you research the Civil War era, and how did you find the fabrics and laces used to make the clothing?

Sb: I went to the Metropolitan Museum of Art and visited their textile center. I looked through fabric books from that era and was able to get a good grasp on what kinds of fabrics were available in the 1860s and bought material in retail stores. The buttons and lace are older. I scoured stores to find them.

W&H: How did the social etiquette of the time period play into your design choices?

Sb: The women had to stay covered. I put myself in their mindset and found out they were raised to essentially please men during that time period. I wanted to know what it’s always like to leave before the party is over and what was it like to always want a man to do something for you. I think that these things informed my decisions in a certain way but not in a specific way.

Walking around in a corset is complicated. It’s a different thing. You must breathe and stand differently. You can’t slouch. I think wearing one helped the actresses get into character.

The Beguiled”: Focus Features

W&H: Can you talk about each actress and what their costume brought to their specific character?

Sb: I wanted Nicole Kidman to feel in charge. I tried to accomplish that by not putting her in very colorful clothes, by putting her in more sedate prints, not flowered but polka dots and stripes.

I wanted Kirsten Dunst to feel romantic. She had come from a city, so in my mind, she was more sophisticated than the other girls. I tried to accomplish that by putting her in diaphanous fabrics.

I wanted Elle Fanning to feel flirty. I hope that the ruffles on her dresses accomplished that.

I wanted Oona Laurence to feel like her clothes were too big because she was either hungry or they were hand-me-downs from other girls at the school.

I put a lot of panels in Angourie Rice’s clothes to show she was still growing. Her fabrics didn’t always match the print, like a light green stripe to lengthen the sleeves of the dress she was wearing.

I wanted Addison Riecke to feel young. She was really funny, and I didn’t know her delivery would be so funny when I was making her costume. I wanted her to feel young and charming.

Emma Howard really looks like she’s from that period. I didn’t have to do a lot. She looked like she belonged to the 1860s.

W&H: There’s a big contrast between their buttoned up, pastel clothing and Colin Farrell’s. Can you please talk about the difference between dressing the two genders?

Sb: Dressing a man in that time period is just easier. There were a lot more constraints to the women’s clothing.

W&H: This film’s production took 26 days. What was it like working in this timeline on an independent film’s budget?

Sb: I had really great team. We were dressing seven to eight people at a time, and we managed to get into a good rhythm. I had the most incredible tailor in New Orleans named Patty Spinelli. I had an incredible costumer named Jennifer Watson. I had the best intern in the world. I feel like these people and support streamlined the production process.

W&H: What is it like being a female costumer designer in Hollywood?

Sb: The one thing I will say is that we are the one profession in Hollywood that is primarily female. I mean, no other area of the profession is. Camera operators, production designers, DPs are generally men but costume designers are generally women — across the board.

Certainly being a woman in Hollywood has certain drawbacks but also merits. I know there is a lot of disparity in the way women are paid as opposed to men, but when I hear about my friends who are lawyers talking about the crazy misogyny that happens in their workplace, I think about how glad I am to be a woman in Hollywood. I wish there were more women filmmakers. There should be more women directors, and more women directors of photography.

Interview: Costume Designer Stacey Battat Talks Creating the Fashions of “The Beguiled” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »

- Holly Rosen Fink

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'The Beguiled' Review: Sofia Coppola's Southern Gothic Is Pure Estrogenic Bliss

20 June 2017 5:13 AM, PDT | | See recent Rolling Stone news »

When a shirtless Clint Eastwood starred in The Beguiled in 1971 – he played a wounded Yankee soldier who finds refuge from the Civil War on the grounds of a Southern girls school – he was the boss rooster in a henhouse.

That was then. Now writer-director Sofia Coppola has reshaped that film, based on the 1966 novel by Thomas Cullinan, into a Southern Gothic that simmers with violent undercurrents and dark, subversive wit. Laughs? You bet, though a few of them will stick in your throat.

Coppola, who last month won the directing prize at Cannes, »

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Sofia Coppola Movies Ranked Worst to Best

19 June 2017 10:57 AM, PDT | Indiewire | See recent Indiewire news »

Sofia Coppola movies are defined by desolate landscapes, lonely characters, a wry sense of humor, and painterly compositions. For fans of this aesthetic, it’s pretty hard to get it wrong, and Coppola’s nearly 20-year track record attests to the consistency of her talent. From her feature-length debut “The Virgin Suicides” through her latest endeavor, “The Beguiled,” Coppola’s dreamlike visuals and deadpan tone have remained a distinctive voice in American cinema, one filled with gentle, forlorn faces and a world that always seems as though it’s on on the verge of devouring them whole. (If there isn’t already a Reddit forum theorizing that all Coppola movies exist in a single universe governed by the laws of sadness, someone should kick it up.)

While Coppola’s career was set in motion to some degree by the influence of a very famous father, her filmmaking capabilities are hardly dictated by Francis’ accomplishments. »

- Eric Kohn

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Sofia Coppola delivers a top notch remake in “The Beguiled”

19 June 2017 3:31 AM, PDT | | See recent news »

Remakes are often dismissed out of hand. Most of the time, they’re unnecessary at best and unwatchable at worst. Every so often, however, a worthwhile one comes down the pike and is worth celebrating. This week, we have one to take notice of and actually fete in Sofia Coppola’s The Beguiled. After a successful debut at the Cannes Film Festival, it heads stateside to try and further its chances at sticking around until the precursor season begins. In a somewhat light year for Oscar friendly titles (really, this is the only one, besides The Hero), The Beguiled has at least a fighting chance. The film is, as mentioned above, a remake of the 1971 Don Siegel movie of the same name, which essentially was a Clint Eastwood star vehicle. Set during the Civil War in Virginia, much of the action takes place at a secluded all girls school, one »

- Joey Magidson

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First trailer for Blumhouse horror Happy Death Day

15 June 2017 11:24 AM, PDT | Flickeringmyth | See recent Flickeringmyth news »

Universal Pictures and Blumhouse have released the first trailer for the upcoming horror Happy Death Day. Directed by Christopher B. Landon (Paranormal Activity: The Marked Ones), the film stars stars Jessica Rothe (La La Land), Israel Broussard (The Bling Ring), and Ruby Modine (Shameless); check it out below after the official synopsis…

Blumhouse (Split, Get Out, Whiplash) produces an original and inventive rewinding thriller in Happy Death Day, in which a college student (Jessica Rothe, La La Land) relives the day of her murder with both its unexceptional details and terrifying end until she discovers her killer’s identity.

Happy Death Day is set for release on October 13th. »

- Amie Cranswick

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On This Day: The Bling Ring, Bambi, Prizzi's Honor...

14 June 2017 5:00 AM, PDT | FilmExperience | See recent FilmExperience news »

Okay, let's get back on track with a robust daily blogging schedule here at Tfe. Happy Wednesday y'all. Here are your 5 assignments for the day.

5 Ways to Honor This Day (June 14th) in History

2013 The Bling Ring opens in movie theaters. By and large people fail to recognize its brilliance immediately. This is the same thing that happens to almost every Sofia Coppola movie.

In its honor: Take all early reactions to The Beguiled, good bad or indifferent, with a huge grain of salt. It opens very soon but first impressions are not likely to last. Her movies are sticky.

1985 John Huston's penultimate movie Prizzi's Honor starring Jack Nicholson, Katheen Turner, and eventual Oscar winner Anjelica Huston, opens in theaters. It's not even the earliest release for a Best Picture nominee that year! Get this statistic »


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Nicole Kidman, Kirsten Dunst, Elle Fanning Praise Sofia Coppola at ‘The Beguiled’s’ L.A. Premiere

13 June 2017 12:42 PM, PDT | Variety - Film News | See recent Variety - Film News news »

Fresh off her landmark best director win at this year’s Cannes Film Festival — only the second woman in the fest’s history to have snagged the esteemed honor — Sofia Coppola was on hand Monday night at the festive premiere of Focus Features’ “The Beguiled,” held at the Directors Guild of America in Hollywood.

“Beguiled” stars Nicole Kidman, Kirsten Dunst, Elle FanningAddison Riecke, and Emma Howard were all on hand for the screening and celebration, along with producer Youree Henley and executive producer Fred Roos.

For Fanning, shooting the Civil War period drama on location in Louisiana was a “fun” experience — except, perhaps, for the constricting costumes.

“The costumes were just amazing — except for the corsets,” she joked. “Those were no fun.”


Cannes Film Review: ‘The Beguiled

But Coppola was precise and daring in her vision, and the cast and crew raved about her directorial prowess.

“When you’re producing, »

- Malina Saval

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First Listen and Full Details on Oneohtrix Point Never’s ‘Good Time’ Soundtrack

12 June 2017 2:22 PM, PDT | The Film Stage | See recent The Film Stage news »

Good Time, the new film from the Safdie Brothers, may not have taken home the Palme d’Or at the recent Cannes Film Festival, but it did win the Soundtrack Award for its score from Daniel Lopatin, aka Oneohtrix Point Never.

The crime thriller, which stars Robert Pattinson, was described in our review as a “21st-century fast-food hybrid that mixes trash television and drug culture with Day-Glo-splattered night-time cinematography and throbbing synthesizers, thanks to a standout score.”

The award winning soundtrack will be released August 11 on Warp (pre-order here) and includes the closing track “The Pure and the Damned”, featuring a guest vocal and lyrics from Iggy Pop. On working with the Safdie Brothers, Lopatin tells Fact that he and the filmmakers “share an affection and reverence for bruised and battered stuff, and I think we both feel this urge to enshrine the history as it is now, not as it was then. »

- Chris Evangelista

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2017 Cannes Critics’ Panel Day 9: Sofia Coppola’s The Beguiled Mushrooms into Critic Fave

25 May 2017 7:10 AM, PDT | ioncinema | See recent ioncinema news »

A longstanding “member” of Cannes well before she showcased her skillset with The Virgin Suicides in the Quinzaine (she was probably at the Apocalypse Now red carpet), this is Sofia Coppola‘s second time in the comp (The Bling Ring was an Un Certain Regard selection).

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- Eric Lavallée

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