#even if she was both wholly ignored and ultimately wrong; she gets a gold star for trying

[hitlikehammers]

strongly worded letter 💌

or: Eddie Munson’s long, weird road out of (the) hell(-side down) ☠️ and into love💗

rating: t ♥️ tags: post-S4, steve’s one-man search-and-rescue for eddie’s not-dead body, falling in love, fluff in surprising places, eddie’s chaotic internal monologue, alphabet magnets🧲 for the win ♥️

for @steddielovemonth day four: "I had not intended to love him. [...] He made me love him without looking at me." —Jane Eyre, Charlotte Bronte

To the external, uninitiated observer, Eddie is well aware his take on all of this will 100% appear both unhinged and as least vaguely self-destructive, bordering on suicidal.

But here’s the thing: if Eddie had been truly suicidal, the million times he could have just stood and let the mobs take him—bigots or mutant bats or a lichy-ballsac that made people float—he wouldn’t have even bothered fighting. Maybe he was questionably attached to self-preservation, but actively wanting to pack it in? Even the thought of sparing his poor uncle his bullshit—finally—hadn’t been a sweet enough deal. Nope: Eddie is selfishly attached to the whole living thing.

Which is why he is begging for it to be understood, in no uncertain terms:

He’d rather know for sure that he was dead in the endless, silent grey hellscape he’s been left in, than wandering in this half-formless, half-collapsing nothing-burger version of the town he grudgingly called home, unsure where he stands on the mortality-scale either way.

—

Here’s the deal.

Vents? Foolishly overlooked.

Epic concert? Rocked, no notes.

Bat-chow? Do no recommend.

Henderson sobbing? Recommend even less.

Being tagged as a corpse? Perfectly fine if that’s what you are; dead weight in an apocalypse simply cannot be justified.

The issue is when you’re tagged as a corpse, and you…aren’t one.

So you’re left behind.

Which brings Eddie to:

Meeting what they’ve been calling a demogorgon this whole time but that resembles no such thing, those goddamn lying liars: not fucking cool.

Having…enough demobat saliva or venom or poison or whatever, probably, where the misleading-as-fuck demogorgon sniffs at you like a dog with her puppies instead of eating you with those fucking petal teeth?

Neutral. Probably wouldn’t order it again.

Getting licked all over by said Petal Teeth, all lioness-grooming-its-young style? Disgusting.

Disgusting.

Figuring out demogorgon saliva has some kinda magical mystical healing properties and you’re basically just covered in fairly-smooth scar tissue now that looks months old rather than hours, and plus you got a bath out of it so most of the dried blood’s gone too?

Fine, okay, he’d leave a tip for service.

But now Eddie is as alive as he can think to test being—and he’s been running all the monster-category tests and he doesn’t pass for vampire, zombie, or any various other undead creatures, he’s hungry but mostly for like, Chicken McNuggets, and—

Stuck. He’s stuck here.

And he thinks they must have won, the Party that is, because nothing’s really happening except…things are falling apart, like rotting in slow motion.

Which is a concern. But. Cool, if it means they did in fact make the motherfucker pay.

But that also means nobody has any reason to be strolling back in to fight demons anymore, and come across his not-so-dead ass. Plus also, the place is probably going to keep crumbling—if a master of a realm is axed, the realm doesn’t typically survive. Mordor fell apparent when Barad-dûr came down. And he…

He did agree to go into Mordor.

Well, fuck him.

—

He mostly wanders around and pokes at random shit, collects some books, ignores the fact that the reality he’s looting is on borrowed time.

He doesn’t know if it’s healthier to deal with that part head on or keep pretending it’s not there, but he honestly could not give a fuck.

Because it’s just him. Save the demogorgon who gave him a tongue bath, he’s seen nothing living. Sometimes there’s a stray screech but it’s too distant to even guess where he’d find whatever made it, stumble upon whatever caused it. There’s not even a breeze to move the decaying trees.

There is nothing.

And it’s starting to drive him fucking insane. He might lose it before the reality caves in on him, actually, just for the sheer…void of it all.

He’s on the edge of that—losing it entirely—when he hears it, sees it.

Who the fuck took that magazine, it’s like three years old, only kept it for the tips on…

And then an echo, like a projection in the air, and it’s fleeting and its faint but where that voice what pretty unmistakable already, the coif of chestnut and the peek of a polo collar, and the seizing in Eddie pulse for both together—it’s almost more undeniable.

That’s fucking Harrington.

—

The vision is, seconds. At most.

But it shifts Eddie’s priorities entirely.

He starts the day—he’s guessing it’s the start of the day, it’s always fucking grey here but he’s just going off of when he’s hungry so—but he looks for cereal in one of these decrepit houses and eats it out of the box as he tries to get his bearings.

Tries also to remember all the weird shit the kids used to say before Eddie knew they were making any of it up.

Context clues give him that this is Hawkins. 1983 or thereabouts—makes sense for the magazine.

But what makes more sense, and is more helpful: Steve had bitched the magazine was moved.

And Eddie’s definitely the one who had it in his hand when he heard said bitching.

So there’s still some connection. Hope’s not totally lost.

Mostly, maybe. But not totally.

—

He decides to go back to Harrington’s and just wait until he goes there to sleep so he can tail him, have some sense of how he can try and make contact from his own side, let someone know he’s still here.

It takes forever; Eddie wonders just how different time runs, here, save that when he finally hears something, the vision is clearer in the air, ghostly but more complete.

And Steve looks fucking wrecked.

Like he hasn’t slept in days, like he’s about to fucking cry, like he—

He’s still the most beautiful guy Eddie’s seen in person, if this counts as in-person, but like—that was never not-true.

“Rob, I don’t know! I just, I just feel like—“

“I will handcuff you to your bed.”

Eddie tries to feel excited that whatever’s happening is strong enough that two voices come through, that Robin’s here, she’s safe too—

But he’s more invested in what’s causing the shouting.

”I know how to pick a fucking lock, Jesus,” and Eddie doesn’t not think about the lock he’s worn more than once around Steve at his belt, nope, he does not—

”The gates are closed, Steve. It’s over.”

Well. Fuck.

There goes the hope thing.

”Not all of them. Not totally.”

Or maybe not.

”Steve, I will hunt you down, I will dog your steps, I will follow you every single moment if you think I am leaving big you even consider going back to—”

“I love you, Robs, but you still can’t drive. Think you’ll beat me on your Schwinn?”

“I will slash your tires.”

“Sorry, birdie, got AAA to save me.”

And that’s all Eddie gets, but…

It almost feels like he’s got one single snowball’s chance in hell, here. Still. Just one, true, but.

If he’s learned anything the last few days, it’s that Steve Harrington’s maybe the most reliable snowball he could ask for.

His chest is all tingly about it, even—fucking traitor.

—

Eddie doesn’t even really have to follow where Steve goes next. In that he knows exactly where it is, just not why the fuck Steve wants to be there.

Especially since even the lack of evidence in ‘83’s version of the trailer still makes him look up at the ceiling and feel like he’s gonna puke.

”Oh sure Mister Munson sir, I just want to borrow your dead nephew’s cassettes, that are definitely in the trailer the fed have locked down to be sent to Area 51 or wherever, just in case he’s not entirelydead in another dimension, and he can hear me because I’m definitely not losing my fucking mind, and definitely not because being called ‘Big Boy’ didn’t fuck with my head more than mutant bats ever did…”

Steve’s frankly endearing muttering, and that last bit especially, distract Eddie enough from the fact that Steve is actively rummaging through his room.

Through his room, Jesus, Eddie moves because he even clocks that lunging at Steve here won’t do shit there to stop the questionable literature Steve’s already sifting through.

At least Steve can’t see him blush across planes of existence. Hopefully.

“Oh,” and Steve sounds shocked, but then looks…gutted?

”One more for the ‘you suck’ column,” and Eddie decides right then that he fucking does not approve of that tone, at all; ”not like I had a chance, definitely not his type…”

“But my type’s the paladin who protects everyone and needs a faithful bard to tend his wound and keep his bed!” Eddie blurts out into the nothing on his side of the divide.

“My type’s been you since fucking junior year!”

Because Junior-Eddie was admittedly much more lust-driven. Let that be said.

Now-Eddie’s equally if not more invested in the heart of a man.

And Steve Harrington, even remotely thinking that he isn’t Eddie’s type?

Maybe Eddie really is dead. And this is hell.

—

”Why do I need them?”

Eddie’s got a new box of cereal—Kix, could definitely be better—and has now trailed Steve to what looks like…the edge of town, which, who lives there…

”Nah, kid, nothing bad. Just want to see something. Promise.”

One of the kids. Maybe this is where the Byerses are, now, if they were right and they’d been on their way back? Because Eddie knows where the rest of them live, and this ain’t it.

Theresa are footsteps in one direction, and Steve wanders in the other, where Eddie sees a girl with a buzz cut he doesn’t know, but who stares Steve down in a way that…Eddie can kinda guess.

They’d all alluded to the super powered kiddo more than once.

”Can you look? Like, just to see if he’s—”

Eddie’s neck turns fast when he turns back in to the conversation, less for the words and more for how timid, how cowed Steve sounds and he…

Eddie just wants, more than anything really, to be able to reach out and touch. To comfort. To do…

Something.

”…would not feel him even if he was there. The connection is gone. The Upside Down is dead.”

And Steve deflates, and Eddie…Eddie remembers the lights didn’t they have to be emotionally unstable, kinda, to make the lights flicker, to let someone know they’re there, and Eddie’s definitely there because—

Not fucking all of it, not yet, Eddie wants to scream; or maybe yes all of it but I’m still fucking here.

Also: that man is 100% my type and I want a fucking shot, I want my snowball’s chance in hell, I want to bite him and call him sweetheart like I mean it and I want, I want, I want—

Also that.

Steve leaves with some…fucking magnets.

And the lights didn’t do jack shit.

—

Eddie spends most of that night playing with magnets.

Well, not at first.

First, he tries yelling, sobbing, focusing like a Force-user, really anything he could think of to get Steve’s lights to flicker. No such luck.

So then Eddie makes a side quest, after having dutifully made certain not to leave Steve’s side for…however many days.

He pops to Melvald’s because of anyone’s got kiddie alphabet magnets, it’s gotta be them.

And score. Definitely not the worst thing Eddie’s stolen. Plus this place is on the way out. Not really relevant, here, if he cared.

Which he fervently does not.

And proves by grabbing two fifths of tequila on the way out. Hah.

He finds Steve passed out on top of his comforter, plaid monstrosity that it is, and he tries very hard to brush his hair back—nothing.

And then Eddie…somehow that’s the straw that breaks the pack-mule’s back. Something in him just fucking snaps.

Because he distinctly remembers this whole fiasco being tied to the labs owned by the fucking Department of Energy, right?

And they can’t even keep the electrical connection between dimensions working?

That’s…that’s unacceptable.

He’s gonna…he’s gonna file a fucking complaint. He’s gonna show up at a picket line. He’s gonna write a strongly worded letter. He’s…

Actually, he’s got all night if the way Steve’s sprawled says anything for how long he’s gonna stay conked out. And he’s also got these handy alphabet magnets.

Letter it is.

—

”What the fuck?”

d3ar 3nergy d3pt he4d i ju5+ wan+ed to te11 th15 guy i w4n+ t0 b1+3 him but n00 y0u c4nt e73n d0 +h4t i h8 u

Eddie trips over some empty bottles, the answer of how they got there pounding in his head real quick—oh, hey, hangovers do transcend dimensions, seems suspicious—but yeah, okay, he does remember getting creative with the abundance of math magnets in the poorly-labeled alphabet pack last night, misleading to lead on letters by default on the packaging. He does recall being very convinced a sideways ‘7’ was a passable ‘V’. But.

He’s not looking at his side of things. He’s looking at Steve’s.

And so is Steve.

And then Steve—who Eddie wants to bite but also kiss and maybe just hold in his arms chest to chest to feel his warmth because when his control broke last night it conveniently knocked him upside the head with the clear realization of that fact that Steve Harrington?

Is doing all this shit for him. On the hope of a maybe.

And Steve Harrington had been disappointed not to have found his lookalike in Eddie’s porn rags.

And Eddie wrote a letter to the fucking DoE in magnets about it, and Steve can see it, stuck to his fridge in 1986 as clear as Eddie slapped it there in 1983.

”…Eddie?”

Steve’s voice is so small and so fearful to be wrong. His chest is heaving, he’s scared.

Eddie scrambles for the magnets left on the floor and smacks them violently to the refrigerator door in record time, prays to everything he doesn’t believe in that Steve can feel his relief spelled out in the bulky primary colors:

h3y 61g b0y v3

And goddamnit, when Steve falls to the floor with his jaw dropped loose, Eddie is 100% sold:

A ‘V’ turned on its side absolutely makes the bottom half of a heart for the three to butt-up to.

—

“Got these to play so if you were there, and couldhear me, you could find your way, if,” and Steve, Steve has been talking to Eddie since they both woke up and found those magnets, even if they haven’t been able to replicate anything, not the letter nor the faulty lighting trick Eddie’d complains about on the fridge in the first place: it could just be a fluke. Steve has no reason to believe Eddie’s alive, that Eddie did that, that Steve didn’t sleepwalk into sleep-spelling, that Eddie even alive in some form would be following his every move.

Of course he is, but. Steve can’t know.

It’s all on faith. For Eddie.

And fuck is Eddie’s heart doesn’t go playing ping pong with his ribs for how much it hits him, how wide and warm it swells in his chest like hope, only second to affection, to want, to—

“Vecna’s not gone, but he’s like, one step from it. I don’t know he can get you but,” Steve taps to the Walkman, to the headphone he gets on just one ear so he can hear and also so someone else—so Eddie—can hear Megadeath as Steve bustles around his house, packing a duffle that reminds Eddie of when they were peeping to storm the castle—

That’s what Steve’s doing. That, that’s what Steve is doing right now.

“I just,” Steve heaves a deep breath, hands on his hips before one pinches between his eyes; “I felt like you were still there, I can’t explain it,” and Eddie’s shaken to his core right now in the best possible way so when he blurts out in a croon:

“Power of loooove, Stevie!”

He can’t be blamed for that. He can’t. He’s…

This man is going down into hell, has not grantee of what Eddie knows in it being largely innocuous, now, save…undead Vecna lurking somewhere, so weak he’s not even noticed.

“But we know music works though, so.”

Steve’s still narrating his plan; Eddie is just staring. Wants to…wants so fucking bad to touch.

“We have to wait for night, for me to get down there. They’re shitty with security on the graveyard shift.” Then Steve’s smirking, and fuck, he’s so pretty.

”Plus Robin sleeps like the dead, she won’t have a chance to notice what I’m doing even on the off chance word got out.”

And the fact that Steve is willing to defy his own platonic soulmate for Eddie—barely knows him in terms of days and hours but at least, if it’s the same as Eddie’s realising more and more that he feels, and unshakable too: it’s like his soul knows Steve, and that cannot care a lick for how time runs, it’s bigger than that.

There’s too much of a sense of potential, a crackling possibility just being in his proximity, even with the distance of other goddamn dimensions—there’s too much swirling in Eddie already for it to mean nothing.

Plus, like: flip the script. Steve is risking everything on a whim, for him.

It cannot be nothing.

“I’m hoping you’re where we left you, which,” and Steve’s voice catches, he pauses, looks around like he’s hoping Eddie might pop into the visible spectrum, so he can see and know, but then he just looks up at the ceiling like—oh, fuck, like it’ll make sure no tears fall out and:

“I can’t fucking tell you how sorry—“ Steve starts to say be Eddie can’t bear watching like this, strides over in an instant and grabs Steve’s hand.

And Steve stills.

And Eddie can feel his pulse in his wrist.

“Is that you?” Steve barely breathes, stares now at his arm where…Eddie can only see the kind of glimmering overlap that means two things are happening in the same place on different planes, he’s grown used to that. But.

If Steve can feel him, if there are moments here that are probably limited where Eddie can prove some little tiny bit that he’s here and he’s listen and he’s with Steve—

He pulls Steve’s hand and drags him into the kind of full body hug he’s been aching for for…fuck.

Too fucking long.

“Eddie,” Steve sighs out, and Eddie can’t help himself. He runs hands through Steve’s hair, and holy fuck: Steve leans in.

Steve feels it enough to lean in.

“It feels like I’ve been falling for a ghost, man.”

Steve says it on a whisper, like he’s still not sold entirely, or else maybe afraid to break a spell. Eddie gets that second part.

“But I guess it kinda started before that, so maybe it’s not as fucking crazy,” Steve laughs a little wet with it and…Eddie has to, because what if he never gets another chance, and hell—if he does, how can he deprive them both the chance to know whatever the sensation will be, like this?

Eddie’s not up to risk never knowing what a cross-dimensional lip lock feels like, okay?

So he doesn’t.

“Please don’t be a ghost,” Steve breathes out and fuck, Eddie can’t taste it but he can feel the way the air moves and it’s, it is; ”I think if you are, I’ll live the rest of my life trying to make it work anyway, I,” and Steve doesn’t get to finish because Eddie pushes in again, and Steve’s as good as his reputation and then some, on wholly separate planes of being.

Eddie cannot fucking wait to feel it flesh to flesh.

“I fall fast, man, but this is kinda insane,” Steve pants, arms out awkward with any indication where to hold. He’s adorable.

He’s delectable.

“But you did say you wanted to bite me, assuming you were talking about me,” Steve smirks but then his eyes go wide:

“Oh, shit, are you a vampire?”

And Eddie has no idea how long he’s been down here alone, surrounding by the silence and the darkness and just the projection level overlay of Steve when he’s lucky, but Jesus H. Christ—

“Is that you laughing?” Steve chokes on his own kinda-giggle as he braces against an unseen and unseeable force barrelling into him: of course it’s Eddie.

Of course he’s fucking cackling.

Because however long it’s been, he definitely hasn’t laughed at any point at all in that span of time—and fuck if he didn’t need it.

—

Steve slips down the last burbling gate not without effort, not without lava-hot road rash no doubt fucking with his already not-yet-healed stomach.

When he’s tackled, thrown straight to the ground, weight pinning him to the ground that’s more dry, more deadened than Steve remembers from just days ago: when his back hits the ground—none of it matters.

“It was me laughing.”

And then Eddie’s mouth is on his—it’s the echo he was afraid he’d imagined that morning, just like the hand on his wrist, just like the laughter wrapped around him.

“You’re an even better kisser in person, holy shit, even your fucking glowing reputation shortchanged you.”

And Steve’s kinda breathless, not just for getting smooshed to the dirt; but then Eddie’s kissing him again, and breathing seems really kind low on Steve’s list of giving a shit.

“You are so my type it’s not even funny,” Eddie says, before diving back into kiss with a bruising kind of force, an unmistakable kind of intent; “I think my type has fully migrated to include kinda just you.”

And Steve’s heartbeat kinda stutters at that because…that’s new.

No one’s ever…well.

It’s just new.

“You weren’t wrong to leave me behind, you don’t ever have to apologize,” and then he’s kissing along Steve’s jaw, and it’s Steve’s laughter now, the tickle of dirty curls dragging at his stubble; “you got out, you’re safe, you’re here,” and Eddie sounds almost overcome with feeling, with relief, and then in the end, bubbling with joy. And somehow Steve can tell it’s not because Steve’s here to save him, bring him home.

It’s just because Steve’s here and that, that is—

Steve’s heartbeat’s just gonna do that tripping thing for the foreseeable future he thinks, at this point. Probably.

“I was trying to convince myself otherwise, because I didn’t think there could ever be a shot in hell but I was falling before it all fell apart, too,” Eddie says in a rush, leaning again to kiss the corners of Steve’s lips, like talking is just an inconvenient interruption to better ways of using his mouth and given how goddamn much Eddie Munson’s always talked, that fucking says something:

“And ever since, it’s felt like I was falling in love through a movie screen,” and he cups Steve’s face to angle it just so as he breathes, those eyes endless and glistening; “could see but never reach, until,” and then he’s kissing him straight on the lips again, a full-frontal assault, tongue seeking teeth, looking for the depths of his goddamn soul of something.

Steve isn’t even embarrassed for how he arches up, how he fucking moans. No one could ever feel this and do anything less.

Like: fucking impossible.

“I liked your letter to the editor,” Steve gasps when Eddie breaks apart and concedes to needing air, presses kisses up and down Steve’s throat while he regroups.

“Oh, shit,” Eddie’s face pops back up—dirt smears and ruddy and in need of a shower but on the whole in way better shape than Steve last remembers having to walk away from, and fuck, fuck—he’s never walking away from it again; “can we send that to the Post? No edits, I want my numbers intact, let them try to figure it out like Zodiac.”

Steve snorts, because god he really is half in love with this nerd, and he’s not a ghost, he’s sold and his chest is heaving into Steve’s and he’s grinning wills and he’s here and they’re here and this is realand—

He yells when the sting clamps through his much-less-extensive uniform of his Members Only jacket despite the weather—it’s freezing, but like, the gates were just cracks, he had to move like a ninja!

Just not a bite-proof ninja, apparently.

“You know, I should have expected that,” Steve deadpans, but his smile gives him away as Eddie pulls his mouth back from the stretch of Steve’s neck that runs to his shoulder, where honestly Steve thinks Eddie punctured the coat in the process. Fucking feral gremlin.

Steve really wants to keep him. Like, indefinitely.

“You really, really should have,” Eddie agrees, beaming like the sun when there’s only dark around them, making it all feel so warm in the chill.

“Honestly should have expect nothing less,” Eddie’s smile curls a little dangerous as he leans in again, apparently satisfied with having caught his breath enough as he mouths wet against Steve’s lips:

“Big boy.”

And then, again: he pounces.

✨permanent tag list: OPEN (lmk if you want to be added/removed): @ajeff855 @askitwithflours @awkwardgravity1 @bookworm0690 @bumblebeecuttlefishes @captain--low @depressed-freak13 @dragoon-ze-great @dreamercec @dreamwatch @dreamy-jeans137 @estrellami-1 @goodolefashionedloverboi @grtwdsmwhr @gunsknivesandplaid @hiei-harringtonmunson @hbyrde36 @imhereforthelolzdontyellatme @kimsnooks @live-laugh-love-dietrich @mensch-anthropos-human @nerdyglassescheeseychick @notaqueenakhaleesi @ollyxar @pearynice @perseus-notjackson @pretend-theres-a-name-here

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[cinemavariety]

The Director’s Series: Sofia Coppola

The director series will consist of me concentrating on the filmography of all my favorite directors. I will rank each of their films according to my personal taste. I hope this project will provide everyone with quality recommendations and insight into films that they might not have known about. Today’s director in spotlight is Sofia Coppola

#6 - The Beguiled (2017) Runtime: 1 hr 33 min     Aspect Ratio: 1.66 : 1                     Film Format: 35 mm

During the Civil War, at a Southern girls’ boarding school, young women take in an injured enemy soldier. As they provide refuge and tend to his wounds, the house is taken over with sexual tension and dangerous rivalries, and taboos are broken in an unexpected turn of events. Verdict: Coppola’s most largely feminist work of her canon. The Beguiled is both a moody ensemble tale and a doomed period piece set during the Civil War era. Power plays are passed among the women as they subtly vie for attention from the injured solider they take under their wing. As usual, Coppola has a trained eye for beautiful frame composition. Her use of 35mm brings an extra textured layer to the events - even if they never get as probing as the trailers promised.

#5 - Somewhere (2010) Runtime: 1 hr 33 min   Aspect Ratio: 1.85 : 1                  Film Format: 35 mm

After withdrawing to the Chateau Marmont, a passionless Hollywood actor reexamines his life when his eleven-year-old daughter surprises him with a visit. 

Verdict: Somewhere is Sofia at her most soft, subtle, and minimalist. In fact, this film washes over you like a gentle breeze. Playing on themes she explored in Lost in Translation, Somewhere is a story of a man living a hedonistic lifestyle. Although he is adorned with riches and beautiful people, he cannot help but feel a deep existential loneliness. His lifestyle is interrupted by the arrival of his daughter who slowly helps him wake up from his daze of dissatisfaction by enjoying the moment. Not Sofia’s most exciting, but still wholly satisfying.

#4 - Lost in Translation (2003) Runtime: 1 hr 42 min   Aspect Ratio: 1.85 : 1 Film Format: 35 mm

Two lost souls visiting Tokyo – the young, neglected wife of a photographer and a washed-up movie star shooting a TV commercial – find an odd solace and pensive freedom to be real in each other’s company, away from their lives in America. 

Verdict: While this film didn’t click with me on initial viewing - it’s beauty has grown on me exponentially over the years whenever I revisit it. Lost in Translation, at its base level, is an examining of the social isolation people can feel - even when they are surrounded by people. You know that feeling when you are lonely even in a crowded room? This film is that feeling idealized to celluloid. Scarlett and Bill’s chemistry is just about perfect and we get to bear witness to a pure friendship developing against the turmoil of life’s daily anxieties.

#3 - The Bling Ring (2013) Runtime: 1 hr 30 min   Aspect Ratio: 1.85 : 1 Film Format: RED Epic Digital

Inspired by actual events, a group of fame-obsessed teenagers use the Internet to track celebrities’ whereabouts in order to rob their homes. 

Verdict: The Bling Ring is Coppola’s least successful effort in most film critics eyes - however I found it to be one of her most lively and fun projects she’s ever done. Inspired by a Vanity Fair article, the fact that this film is based on true events makes it even more wildly entertaining. Coming out the same year as Spring Breakers did, this film also projects a spotlight on delinquent youth culture characterized by a vapid and soul-sucking love for materialism. While this film does grow repetitive in structure, Coppola finds a real rhythm in all the robbing the teenagers commit. Emma Watson shines, especially at the end after she is arrested. She continues to be completely ignorant to her actions as she tells reporters “I'm a firm believer in Karma and I think this situation is a huge learning lesson for me... I want to lead a country one day for all I know.”

#2 - Marie Antoinette (2006) Runtime: 2 hr 3 min  Aspect Ratio: 1.85 : 1 Film Format: 35mm

The retelling of France’s iconic but ill-fated queen, Marie Antoinette. From her betrothal and marriage to Louis XVI at 15 to her reign as queen at 19 and ultimately the fall of Versailles. 

Verdict: Those looking for a factually accurate historical tale should look the other way - Sofia created a period piece of her own design with Marie Antoinette. The results speak for themselves. The film chronicles the rise and fall of the young queen as she lavishly exploits her lifestyle of decadence. Kirsten Dunst has always been one of my favorite actresses, and she plays the titular role with such an elegant grace. The color palette of this film is a smorgasbord of colorful and bright pastels, the production design is extremely detailed, and the wardrobes are beyond impressive. Coppola’s choice to implement modern day flourishes such as a quick shot of Converse sneakers, or playing The Strokes over a montage scene is nothing short of an auteur at her finest. All of these elements combine to make a near perfect film.

#1 - The Virgin Suicides (1999) Runtime: 1 hr 37 min   Aspect Ratio: 1.85 : 1 Film Format: 35mm

A group of male friends become obsessed with five mysterious sisters who are sheltered by their strict, religious parents. 

Verdict: Some artists strike gold with their debut feature, and this is most definitely the case with The Virgin Suicides. While I adore all of Sofia’s filmography, none of her other films even come close to the perfection of this film in my opinion. Suicide has impacted me many times in my own life, and Sofia Coppola takes this subject matter and turns into something hauntingly poetic. Loneliness and isolation permeates this film. While these type of themes could become misery porn in the hands of the wrong director, Sofia tackles them with great consideration. What makes this story even more poetic and mysterious is the fact that the story of these five girls is relayed through the memories of a group of obsessive teenage neighbor boys. They are all struck and intoxicated by the angelic Lisbon sisters, who are soon doomed to their rooms for the rest of eternity due to the strict religious fervor of their parents. They recall these events not exactly as they might have happened, but as how they remembered them. The Virgin Suicides is an exploration of the transiency of existence, and how certain people will forever leave their mark, no matter how long after they have passed away. “It didn't matter in the end how old they had been, or that they were girls. But only that we had loved them, and that they hadn't heard us calling, still do not hear us calling them from out of those rooms where they went to be alone for all time... and where we will never find the pieces to put them back together.”