The retelling of France's iconic but ill-fated queen, Marie Antoinette. From her betrothal and marriage to Louis XVI at 15 to her reign as queen at 19 and to the end of her reign as queen, and ultimately the fall of Versailles.
Hollywood actor Johnny Marco, nested in his luxury hotel of choice, is a stimulated man. Drinking, parties and women keep a creeping boredom under wraps in between jobs. He is the occasional father of a bright girl, Cleo, who may be spoiled but doesn't act it. When Cleo's mother drops her off and leaves town, Johnny brings her along for the ride, but can he fit an 11-year-old girl into his privileged lifestyle?Written by
Peter Brandt Nielsen
A number of the dialogs were improvised by the actors, notably the things said by Sammy (Chris Pontius) to Cleo (Elle Fanning). This was done in order to provoke genuine surprise from Fanning. Pontius, in fact, was specifically chosen for his improvisation skills, as well as his good rapport with children. See more »
Cleo toggles between having and not having braces from scene to scene. This is most noticeable in scenes in the living room with Sammy and scenes in Johnny's car. See more »
Love Like A Sunset Part II
Written by Thomas Mars, Christian Mazzalai, Laurent Brancowitz, Deck D'Arcy
Performed by Phoenix
Courtesy of Ghettoblaster S.A.R.L. under exclusive license to V2 Records International Ltd. t/a Cooperative Music
Under license from Universal Music Operations Ltd. and Glassnote Entertainment Group LLC
By Arrangement with Zync Music Inc. See more »
'Somewhere' anatomizes the mindset of a man who has everything - except purpose. Johnny Marco is a thriving Hollywood actor but his soul is adrift on the sea of ennui which afflicts those to whom life denies nothing – he lacks meaningful relationships and doesn't know what to do with himself between projects.
In classic European art-house style Coppola evokes Marco's inner desolation through the extensive use of eccentrically framed, lingering, static, wide shots in which the focus of attention listlessly enters and leaves frame. And she does this relentlessly throughout the movie to the point that, like Marco, you just want to give up. Yes the guy is a bit defocused, a bit haunted and generally of a bit of a mid life plateau and yes these attributes are successfully evoked by the directorial style, but the result is so anodyne that you just want to watch a film about a guy with some real reasons to be miserable.
Naturally you're hoping he'll rediscover his mojo through his relationship with his daughter and work out what to do with his life but given the film's obvious anti-Hollywood credentials, you feel your optimism for any kind of resolution seeping away just like Johnny Marco's.
I imagine that if you are the daughter of a like-able, pampered but lost Marco figure, drowning in existential anxiety, then this character study is pretty poignant but it's really no more than a letter from Coppola to her father – and, of course, a gift to the type of film-goer for whom every aspect of the human condition, including boredom - is interesting.
Sometimes less is more; sometimes it's just less.
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