“Coppola completely sucks out any of the original’s over the top sequences for more art house, painterly images instead. Wise decision. Eastwood’s civil war film hasn’t aged well, but Coppola saw something intriguing in remaking it as a feminist fable.” – Jordan Ruimy (World of Reel)
“With one quick reaction shot, Coppola grants her female characters more agency, recognizing that their neuroses are no longer just symptomatic of the hellish nature of war. In this version of The Beguiled, sexual frustration results from a comical refusal to accept one’s desires for what they are: the stuff of human instinct.” – Simon Abrams (Slant Magazine)
“Coppola has made a swift, gorgeous chamber thriller, an efficient and refreshingly straightforward film that crackles with wicked humor. It’s given this festival a delicious jolt of energy… Whether or not the feminism of white Confederate sympathizers is feminism we want to be grappling with is a matter that I’m sure will be discussed when the film is released.” – Richard Lawson (Vanity Fair)
An ensemble prize for the actresses on display here would be very fitting – especially as it would be apt for Nicole Kidman to come away with something given the amount of photo calls, press conferences, red carpets she’s attended. Sofia Coppola winning a prize would also be warmly received, your guess is as good as mine as to which. But, like Kidman, the amount of opportunities can still lead to nothing this time around. Two female directors on the jury, headed by a president who tells stories of women like no other, is only good for Sofia and the film’s chances.