Watch: Sofia Coppola’s ‘Lost in Translation’: The One-Shots vs. the Two-Shots

Watch: Sofia Coppola’s ‘Lost in Translation’: The One-Shots vs. the Two-Shots

The crucial dichotomy at the heart of Sofia Coppola’s ‘Lost in Translation’ is the difference between being alone and being with someone else. The film doesn’t rank one above or below the other; it just places them side by side. As we observe Scarlett Johansson’s Charlotte and Bill Murray’s Bob going about their days separately and then together, we learn something about their characters and about ourselves–and the cinematography, with its contrast of one-shots and two-shots, helps us out. This video from Between Frames guides us through the film’s movement from isolation to cohabitation, with brio and the charisma of Jesus and Mary Chain in the background.  

Watch: What If ‘Lost in Translation’ and ‘Her’ Were Two Parts of the Same Movie?

Watch: What If ‘Lost in Translation’ and ‘Her’ Were Two Parts of the Same Movie?

Spike Jonze’s ‘Her’ and Sofia Coppola’s ‘Lost In Translation,’ despite their differences, often seem as if they are part of the same general mood in the minds of their directors: a little sad, a little bemused, a little amused. Each film views as less a story than a series of grace notes on the idea of loneliness; they puncture our minds less than they nudge them. And they conjure terrific, understated performances out of normally dominant stars like Bill Murray, Scarlett Johansson, and Joaquin Phoenix in the process. This new video by Jorge Luengo proposes that they could be part of the same movie, more or less, and in watching it, one begins to think that might not be such an outrageous possibility…

Watch: A Video Essay About Sofia Coppola’s Dreamlike Aesthetic

Watch: A Video Essay About Sofia Coppola’s Dreamlike Aesthetic

What defines the Sofia Coppola aesthetic? Is it the sublime use of soft
and natural lighting? Is it the subtle pastels of the color pallet?
Maybe the handheld camera that dizzily floats around the characters?
All of these visual characteristics work together harmoniously to create
Coppola’s distinct dreamlike atmosphere. However, the aesthetic
reaches far beyond the idea of a visual trademark–Coppola’s atmosphere
seems to mirror the inner workings of her characters. As Charlotte
ponders a fully-realized life in Lost in Translation, the camera
stutters around her in a circular motion. She is washed away, her
clothing blending into the matching surroundings. In The Bling Ring,
the silhouetted bandits streak across the glittery horizon as they chase
their gaudy and tainted desires. In Marie Antoinette, the fanciful
nature shots portray a longing for freedom and self-fulfillment.
Coppola crafts these dreamscapes to show us not only who her characters
are, but who they want to be.