Tomorrow Theater is teaming up with MUBI for this screening of Eleanor Coppola’s Making Marie Antoinette, a lush, intimate documentary about Sofia Coppola creating Marie Antoinette. The mother-daughter duo began creating this documentary at the beginning of the COVID lockdown, and Sofia finished the film after her mother passed in 2024.
In 2005, Sofia Coppola shot her third feature film, Marie Antoinette, starring Kirsten Dunst and Jason Schwartzman, at the Palace of Versailles, securing unprecedented filming permission that had never before been granted to any production. Her mother, acclaimed documentarian Eleanor Coppola, accompanied her on set, capturing approximately eighty hours of footage chronicling her daughter’s journey throughout the making of the film. This year, on the occasion of the 20th anniversary of the release of Marie Antoinette and in fulfilment of her mother’s wish, Sofia Coppola reviewed that previously unseen material. Making Marie Antoinette explores the craftsmanship and care that brought the film to life, follows legendary costume designer Milena Canonero at work, and offers a glimpse into what it meant to be a young female director at that time. The result is a fascinating look at the creative process behind a landmark film and, at the same time, a surprisingly intimate family portrait.
See full details at tomorrowtheater.org.
Shu Lea Cheang is an artist, conceptualist, filmmaker, and networker who has worked in the field of net-based installation, social interface, networked performance, and film production. Her work traverses between hard and soft, sex and politics, fiction and reality, fantasia and earth-bound.
Fresh Kill (1hr 20min) 1996: Shareen and Claire, a lesbian couple living on Staten Island, find themselves ensnared in a vast conspiracy involving a ghost ship of nuclear refuse, ominous television commercials, and deadly cat food.
SEX FISH (6mins) 1993: An erotic lesbian video involving swimming upstream, female power, and fish love. Made as a collaboration under the name E.T. (Ela Troyano) Baby (Jane Castle) Maniac (Cheang). “In Sex Fish water provides the common denominator for nature imagery and explicit sex. Unlike 1970s feminist imagery, however, nature is sexualized rather than sex naturalized. Dripping from the faucet, spraying against a shower curtain, swirling down a toilet, water leads viewers from one sex scene to another, private to public and back again. Swimming through the video are various fish, seemingly unaware of the derogatory pun they enact, and all gulping enviously as cunnilingus surrounds them.” —Chris Straayer, Deviant Eyes, Deviant Bodies: Sexual Re-orientations in Film and Video (New York: Columbia University Press, 1996)
SEX BOWL (7:43 mins) 1994: All forms of human sport become sites for sexual play and celebratory eroticism.
“The tape’s images are quick, suggestive, and sexy: fingers moving into bowling balls, shoe-smelling and toe-sucking, a dog wearing chain jewelry, fish being wrapped at the market, young naked couples having sex…. Edited like a music video, the image track is a constant flow of fetishes that lure us into the promiscuous pace of girls who keep lists of their sexual encounters.” —Chris Straayer, Deviant Eyes, Deviant Bodies: Sexual Re-orientations in Film and Video (New York: Columbia University Press, 1996)
FINGERS AND KISSES (4:35 mins) 1995: Cheang has taken her camera to the streets for a candid glimpse of lesbian public sexuality. If Asian women and lesbians share a certain amount of invisibility in the culture, Fingers and Kisses offers not only a bold representation of both, but a challenge to the question “What do lesbians do?” Tokyo’s own out-and-loud music by Chu punctuates the narrative as what begins in the streets continues under the sheets.
COMING HOME (5mins) 1995: This humorous video begins with two women—one white, the other Asian—attempting to fit into a Japanese bathtub. The awkward fitting of bodies into a small space is just one of the allegorical scenarios dramatized in a pressing appeal for lesbian rights. In a game of hanafuda (flower cards), the terms of lesbian domesticity are cleverly played out according to such legalities as joint property, social security, and pensions.
See full details at tomorrowtheater.org.