Sofia Coppola on Embracing an ‘Embarrassing’ Moment in New ‘Marie Antoinette’ Doc and Showing Strength on Sets Surrounded by Men

Sofia Coppola on Embracing an ‘Embarrassing’ Moment in New ‘Marie Antoinette’ Doc and Showing Strength on Sets Surrounded by Men hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 23, 2026 10:00am PT Sofia Coppola on Embracing an ‘Embarrassing’ Moment in New ‘Marie Antoinette’ Doc and Showing Strength on Sets Surrounded by Men By Daniel D’Addario Plus Icon Daniel D’Addario Chief Correspondent DPD_ Latest James McAvoy Got Bullied by Famous Co-Star on His First Day of Being a Professional Actor: I Got Laughed at For Three Minutes 1 week ago Sex, Love and War: How the Racy Gay Epic ‘La Bola Negra’ Could Win Netflix’s First Best Picture Oscar 1 week ago Why the ‘Girls’ Revival Is Such an Exciting Idea 1 week ago See All Add us as a Google Preferred Source Comments On the set of “Marie Antoinette,” Sofia Coppola was a director in her mid-30s with two previous features under her belt — exhilarated and occasionally overwhelmed by the scope of shooting a historical drama at Versailles. And her mother was there documenting it all.

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“ Making Marie Antoinette ,” to be released in theaters Oct. 23 on Mubi, marks the 20th anniversary of the Kirsten Dunst-led biopic.

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And it is the product of hours upon hours of raw footage Eleanor Coppola shot depicting her daughter at work. The elder Coppola was no stranger to working this way among family: Her most renowned film may be 1991’s “Hearts of Darkness,” about the turbulent filming of her husband Francis Ford Coppola’s “Apocalypse Now.” Related Stories Will Elon Musk Help the Ellisons Pay Down Skydance’s Massive Debt?

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Everything from Dunst’s performance, painting the polarizing French queen as a naive, sheltered teen seeking experience, to the film’s punk-inflected soundtrack seemed to befuddle critics. Popular on Variety The film captures a propitious moment for its central figure: Sofia had catapulted forward in her career, winning an Oscar for writing “Lost in Translation” and was working with Sony, a major studio, on the visually lavish follow-up.

And it represents a coda in the career of Eleanor. During the COVID pandemic, Eleanor was evaluating her life and career and mentioned to Sofia wanting to do something with the footage she’d shot in France.

After Eleanor’s 2024 death, Sofia edited together a feature out of the footage. What emerges is a sweet tribute to Eleanor, whose observations from the time, written in her diary, are read in voice-over by Diane Lane.

(Lane had starred in “Paris Can Wait,” Eleanor’s 2016 feature film directorial debut.) And it’s an opportunity to reflect on our evolving view of Sofia, who, on the “Marie Antoinette” set seemed a wunderkind and who has, with sustained creative success, grown into one of Hollywood’s most reliable indie auteurs. Sofia spoke to Variety via Zoom about the film and her memories of shooting “Marie Antoinette” with her mom on set.

Seeing the film at the New York Film Festival felt very nostalgic for me. I imagine it may have felt similar for you.

It was wild to see it on that big screen, because I was

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