The Beguiled – New Movie with Kirsten Dunst

About the movie

Unexpected and intriguing. The best way to describe the atmosphere in an isolated girl boarding school, where a man suddenly appears. The only one far away. Behind the walls of an isolated girl’s school rage the American Civil War, but its students and teachers are not aware of the ongoing conflict. Until he clings to their door. John McBurney (Colin Farrell), a heavily wounded enemy officer, takes on a Christian mercy to put his “soldiers” as a prisoner of war as soon as he stands a little bit on his feet, but John gradually wraps around his finger not just the young female students headed by Alicia (Elle Fanning), as well as their old-school teacher Edwina (Kirsten Dunst) and chief school principal (Nicole Kidman), all of which give rise to emotions that have not yet been experienced for a long time. He does not realize that he found himself in the middle of a battle that is more terrible than all the fighting of the ongoing war.



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Movie shows what we have in ourselves

I love Sofia Coppola, and despite the absence of risky projects in the last, uh, the decade I look forward to every one of its pieces. This was also the case for the Frustrated, Chamber Historical Drama about the events that simply have to happen when the young man arrives in a purely female community. Like a fair burman I do not know a book masterpiece, and I have not seen a fourteen decade old adaptation with Clint Eastwood, but I dare say that this is exactly what Sofia is sitting on. Like the Death of the Virgin, she also presents a plethora of female characters, each of which proves in a unique way that Colin Farrell’s innocent-looking presence is not indifferent. It is sympathetic that resentment among heroes lies more in unsubstantiated claims than theatrical scenes, as it is, of course, in the segmented 19th century. There is a dense atmosphere in the air, and you are just waiting for the creeps that Sofia has created through its precisely drawn characters. In the end, it is not as emotionally overwhelming as in Lost in translation or horrifically fateful as Death virgins, but still you will leave the cinema with a little frightened mindset about what we have in ourselves. Both men and women.

Divine landscape and female sexuality

Such a longer etude, which is actually the most interesting in its first half, in which nothing is happening and you can think, to the power of the perverse plane we are going to make it wrong. The stories that take place in girls’ dormitories almost always have some common features (by Peter Weir and his godly, pungent Picnic on Hanging Rock). However, Sofian, the Frustrated, only borrows the subject of female sexuality, and no greater mystery is done. The moment the story begins to be a story and gets caught up, the whole movie stops interesting and quite soon after and ends. And despite the fact that the shots of the surrounding landscape and Kirsten look really divine. I love her so much in this movie that I’d give my signup bonus away to her. Anytime. After any movie.

Based on a novel

However, it is still the smoother, more sensual and sophisticated treatment of Thomas Cullin’s novel than in 1971 by Don Siegel and Clint Eastwood. In the original film, the destruction of men was jealous and vengeful women who could not suppress their lust. So I understand the decision of Sofia Coppola to process the same theme so that the result is not a film expressing male paranoia of female hysteria and in which the southern beauties are defined exclusively by their sexuality (or absence). Coppola launched a wider historical context and replaced it with a timeless narrative about sex and teenage girls. Like the Deathly Hallows or Marie Antoinette, her heroes conceal into a golden cage that gives them certain privileges, but at the same time prevents them from showing their individual interests freely. This closeness is also reflected in Oklamanes in ignoring the outside world, corresponding to the viewpoint of privileged white girls, who are only interested in their own needs. Deaf is a layered, subversive and humorous film with an ambiguous appearance despite the appearance of flatness and superficiality.



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Once again, applause the director…

So, Sofia Coppola has always been about atmosphere, acting, feelings, problems in communicating characters and perfect pictures, and if you have been waiting for some stunning epic, you are naive. This movie was made by Philippe Le Sourd and his illuminator, because I have not seen such beautiful soft interiors, and it really resembled a glittering gallery (Tommy987 ™) and actresses from which light makes direct the Renaissance angels until they unpainted the rocks. From the actors I would have shot the performance of Kirsten Dunst because she was here in a different position as in the other Coppol’s films and I think she also played Kidmanka, who is a little still Kidmanka. Elle Fanning enjoyed the nauseous tank and it was clearly seen; If the girl continues to select such films, she will be an extractor in the decade. So under the atmosphere, pictures, illumination, Kirsten and Elle at my 9/10.

…and the actresses

All women played excellently within the minimum space the film provided them. Colin could have done his anger better. 2 conflicts – Christian love vs. love. Fear of enemy and chastity vs. libido. The desire and the fear were cut. They were greatly composed not only in the exterior but also indoors (evening prayer). Give me a paradox that did not really miss me, which surprised me.

So, here is my review. I think it’s time you watch the trailer, then the movie, and write one for yourself. Cheers! Keep calm and love Kirsten.


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