which premiered at the New York Film Festival last month. But unlikethis movie doesn’t go down so smooth. The plot rings familiar: Laura is a comfortably rich but emotionally drained mother of two living in New York, and when her husband starts traveling frequently for work, she suspects he may be cheating. Laura turns to her father, Felix , for advice—after all, he cheated on her mother when she was a child, so he ought to have some insight on her own marital problems.
Had Coppola’s name not been stamped on it, it would be almost impossible to tell that she’s behind this film, a departure from her auteuristic oeuvreCoppola, always interested in the seductive and fantastical elements of the feminine mystique, instead concerns herself here with the cliche of the tired modern mother. Laura is somewhat sexless, drained of creative energy, and whittled down by her domestic duties.
Even Coppola’s rich aesthetic eye is nearly absent. Coppola is much more comfortable creating consistent, imaginative, and meaningful worlds out of the past than from the present-day elite, who hardly exhibit the considered taste of Marie Antoinette. The occasional statement comes in the form of Felix, from his dapper suits to his cherry-red Alfa Romeo.
Laura’s passivity stretches to frustrating ends. Eventually, the emotional tension of the film withers, and we’re left unsatisfied. There is something disjointed in their stilted, cross-generational dialogue, and a closer look at the film’s racial makeup can hint to why. Coppola likes to focus on questions of gender that are uncomplicated by race, and this remains the case; the script is nearly colorblind, until Laura and her family’s Blackness becomes convenient.
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