When teenage Priscilla Beaulieu meets Elvis Presley, the man who is already a meteoric rock-and-roll superstar becomes someone entirely unexpected in private moments: a thrilling crush, an ally in loneliness, a vulnerable best friend.

Priscilla.2023.720p.AMZN.WEB-DL.DDP5.1.Atmos.H.264-FLUX.mkv

General
Container:	Matroska
Runtime:	1h 52mn
Size:	3.39 GiB
Video
Codec:	h264
Resolution:	1280x688
Aspect ratio:	1.85:1
Frame rate:	23.976 fps
Bit rate:	3 540 kb/s
Audio
English (US) 5.1ch E-AC-3 JOC @ 768 kb/s

https://nitro.download/view/486447B3C49B0A3/Priscilla.2023.720p.AMZN.WEB-DL.DDP5.1.Atmos.H.264-FLUX.mkv

Language(s):English
Subtitles:English, Spanish

The post Sofia Coppola – Priscilla (2023) first appeared on Cinema of the World.

Quote:
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?

2.60GB | 1h 37m | 1024×556 | mkv

https://nitro.download/view/CF61EC0DE3EF5F8/Sofia_Coppola_-_(2010)_Somewhere.mkv

Language:English
Subtitles:English,German

The post Sofia Coppola – Somewhere (2010) first appeared on Cinema of the World.

Quote:

Sofia Coppola’s directorial debut revisits adolescence through the eyes of four middle school girls obsessed with the novels of V.C. Andrews. The film explores the politics of teenage girls during a pivotal time in their lives through a plot against the school’s boys in a secret plan codenamed “Lick the Star”.

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Even with the poignant interruption of the potential finality of self-inflicted violence, the brief yet punchy Lick The Star boldly posits that “nothing changes and life goes on.” As a pack of Heathers-ish tweens plan transgressive acts based on angsty literature, the audience is reintroduced to an age old question with no answer in sight: what’s wrong with the kids these days? Coppola’s construction of middle school malaise need not be read as her own philosophy or position, but as a representation of an attitude towards the overly-rich, overly-white, overly-bored students that allow themselves to be caught up in this aforementioned spiral of violence. The film’s dynamic yet precise style reflects this. Layered dialog, comprised mostly of indistinct whispers, creates the sense that these kids really have nothing to say other than petty and destructive gossip. Even the supposed “queen” Chloe who acts as the film’s primary narrative object loses much of her meaning by the film’ conclusion, as denoted by the shift from expressive and worshipful cinematography to her somber exit in the final shot. While these young women may verbally espouse nearly no redeemable qualities, their honest insincerity and constant performative cattiness prevent them from being wholly unlikable. In fact, it seems as if Coppola would rather the viewer pity the members of the “Lick The Star” Clique than condemn their behavior, as they are clearly the unfortunate products of a privileged yet dissatisfactory upbringing. Middle school can often feel cold, like the transitional clinic between coddled childhood and uninhibited adolescence. Perhaps this implicit call for compassion should be heard, even if the film’s close suggests that actions are without consequences; it is this contradiction that adds significant weight to Coppola’s snappy yet subdued short.

329MB | 13 min 48 s | 768×576 | mkv

https://nitroflare.com/view/AA83D49BA971793/Lick_the_Star.576p.mkv

Language(s):English
Subtitles:None

The post Sofia Coppola – Lick the Star (1998) first appeared on Cinema of the World.

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A group of male friends become obsessed with five mysterious sisters who are sheltered by their strict, religious parents in suburban Detroit in the mid 1970s.

Slant wrote:

It makes sense that the décor inside the Lisbon home is so bland. It’s never garish in that kitschy ‘70s kind of way (like Allison Janney’s living room in The Ice Storm). Much like Frances McDormand’s doting mother from Cameron Crowe’s overrated Almost Famous, Mrs. Lisbon (Kathleen Turner) desperately tries to find a scapegoat for the adolescent angst festering inside of her home, placing blame on the popular music that her daughters listen to. Director Sofia Coppola doesn’t portray her character as some fanatical conservative though one can blame the death of the woman’s daughters on her obsessive notions of familial security. Throughout the film, she hovers quietly in the background—her watchful gaze more menacing than her actual actions imply. The fact that Mrs. Lisbon believes that her dead daughters “never lacked in love” suggests a woman completely blinded by the nature of her maternal instinct. The Virgin Suicides is narrated omnisciently by a group of men who knew the Lisbon girls 25 years ago. After the suicides, the boys made it a mission to collect scattered items from the girls’ lives. Once Lux Lisbon (Kirsten Dunst) abandons curfew, the four living Lisbon girls (the fifth sister, Cecilia, killed herself one year earlier) are imprisoned inside their house by their mother (Turner, in post-therapy Serial Mom mode) and their pussy-whipped father (James Woods). The doting father is so burdened by grief that he speaks to plants about their photosynthetic processes. The performance (arguably the actor’s best) is sad yet brimming with life, much like the film itself. The film’s narrators are forced to entertain the girls by providing them with their restricted pleasures. The boys call the girls on the telephone, letting them listen to the music that plays on their stereo. But as much as the boys desperately try to understand these girls, the girls remain but a distant memory. Although Edward Lachman’s gorgeous cinematography contributes to the film’s nostalgic glam, Coppola’s dreamy paean to stilted adolescence has a universal appeal. Gracefully surreal, the film says as much about the mysteries of female sexuality as it does about what lies behind troubled picket fences. Coppola waxes poetic on female subjectivity, dreamily detailing the imprisonment of girls whose boys desperately try to understand them. The narrator speaks of youth as if it existed and still exists in a near-fugue state. In this respect, the film is as much a relevant view of adolescence and male/female relations as it is an act of remembrance. Scenes from the film (first kisses, gossiping about neighbors) are sinewy in nature and seem lifted from the pages of a lost photo album.

Interview 1:

Interview 2:

Interview 3:

Making of:

2.19GB | 1 h 37 min | 960×576 | mkv

https://nitro.download/view/CDD882B35700C9A/The_Virgin_Suicides.part1.rar
https://nitro.download/view/B35F14286A17020/The_Virgin_Suicides.part2.rar
https://nitro.download/view/58AE07F7E5D213C/The_Virgin_Suicides.part3.rar

Language(s):English
Subtitles:English

The post Sofia Coppola – The Virgin Suicides [+extras] (1999) first appeared on Cinema of the World.