BREAKING: Interstellar back in cinemas due to public demand; Dune: Part Two to also re-release on March 14 in IMAX

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A lot of Bollywood films have re-released off late but when it comes to Hollywood, a handful of classics have had a re-run in cinemas. Last month, Interstellar re-released and received a rocking response. However, it just had a one-week run. If you missed watching the cult film in cinemas, here’s a reason for you to rejoice. The film will be back on the big screen on March 14, that too in IMAX. Moreover, Warner Bros will also bring back Dune: Part Two on the same day in theatres. A source told Bollywood Hungama, “Interstellar has a huge demand as it’s a film worth watching in theatres, that too IMAX. However, it re-released on February 7 and had to discontinued from February 14 to accommodate the new releases, Chhaava and Captain America: Brand New World. Both these films got a release in IMAX as well.” The source continued, “Many were aware that Interstellar had just a one week run. Hence, it held very well in the weekdays, collecting Rs. 2 crore plus. Yet, there was a section of mo...
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Behind the scenes with Sofia Coppola: memories from a life in film

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The celebrated director looks back at her career, sharing the inspirations and experiences that shaped films from Lost in Translation to her forthcoming biopic, Priscilla​. Words by Sofia Coppola, introduction by Kathryn Bromwich

There is a particular aesthetic that runs through Sofia Coppola’s work, whether she is turning her gauzy, feminised lens on the southern gothic of The Beguiled or urban alienation in Lost in Translation, the rococo excesses of Marie Antoinette or disaffected suburban youths in The Bling Ring. Coppola is adept at creating heady atmospheres and worlds that feel fully realised, her characters veering between emptiness, desire and repression; the frames in her films have a painterly quality, straddling the line between beauty and claustrophobia. Her singular style has influenced much of contemporary popular culture, from Lana Del Rey’s wistful music videos to Emma Cline’s novels about lonely and potentially dangerous young women.

Coppola’s first book, Archive, collects behind-the-scenes ephemera from her films, starting with her 1999 directorial debut, The Virgin Suicides, and ending with her forthcoming biopic of Elvis Presley’s young bride, Priscilla. Holed up at home in Napa, California, during the pandemic, Coppola started to go through boxes of old material: Polaroids, early scripts, clippings, letters, doodles. These discarded objects had taken on a nostalgic quality over the years, and so Coppola put together the most meaningful mementoes from each project, accompanying them with musings and personal recollections. Speaking to journalist Lynn Hirschberg in the book’s introduction, Coppola reflects on Priscilla, which premieres at the Venice international film festival next month. “Across all my films, there is a common quality: there is always a world and there is always a girl trying to navigate it. That’s the story that will always intrigue me.” Kathryn Bromwich

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