Sofia Coppola pulled off something of a magic trick with her haunting debut: staying faithful to the Jeffrey Eugenides novel the film is based on while imbuing it with her own unmistakable style and sensibility, unquestionably making it her own. Both novelist and filmmaker turn a generous but critical eye on their characters in this moody, vital treatise on adolescence and isolation, but while the novel is concerned with its young men’s longing for the Lisbon sisters, the film re-centers the sisters themselves, giving us an opportunity to examine how the different perspectives of author and filmmaker can alter a story, even when the adaptation barely changes a beat. – Sarah Soliman, series curator
For her stunning debut feature, director Sofia Coppola (Lost in Translation, The Beguiled) exploded onto the scene with The Virgin Suicides, her adaptation of Jeffrey Eugenides’s popular first novel. Like the book, the film tells the story of the suicides of the five Lisbon sisters, a clan of tight-knit siblings in 1970s suburbia who are eventually broken by the stifling, borderline cruel control of their uptight, zealous parents, all recounted by the collective memory of a group of men who knew the girls in their youth. Featuring gorgeous, ethereal cinematography from legendary lensman Ed Lachman (Carol, True Stories), and scored by iconoclastic French duo, Air, The Virgin Suicides instantly cemented Coppola as an ”it” director for turn-of-the-century American independent cinema.
JBFC Members can purchase a ticket package now for three or four Adapted screenings at a discounted price of only $15 per screening. Subject to availability, any remaining tickets to individual screenings will go on sale to JBFC Members and nonmembers in mid-August.