You can have your cake (and eat it too) at Ladies of Burlesque’s screening of MARIE ANTOINETTE—Sofia Coppola’s 2006 (a)historical, candy-coated, post-punk infused biopic of France’s most notorious historical figure. With her recent Cannes win for Best Director (only the second time the title was bestowed on a woman), Coppola’s films are under reassessment, reevaluation, and scrutiny. Poorly received upon its release and booed at its Cannes premiere, MARIE ANTOINETTE is the key to understanding Coppola’s apolitical, vapid, yet utterly orgasmic and ultimately complicated body of work.
An anti-BARRY LYNDON for the 2000s, MARIE ANTOINETTE, while anachronistic in its historical rigor, is a feast for the eyes. Fondant, buttercream, powdered wigs, accessorized dogs, and flowing champagne--it’s a veritable explosion of pastel, high-calorie and silk-embroidered extravagance. With costumes designed by the renowned Milena Canonero (who won an Oscar for her work) and 18th-century desserts brought to life by the legendary Parisian luxury patisserie Ladurée (yes, we will have macarons available at concessions, as well as cake), the film seethes in overindulgence. Coppola’s depiction of France’s “Madame Déficit,” while criticized upon its release for being feather light in its political commentary, engages more with our age’s obsession with young girls and celebrity than particulars of the French Revolution. A film about destructive feminine decadence, made by our era’s most decadent filmmaker, Coppola’s historical fantasy is a fascinating document of twenty-first-century materialism. Plus: you won’t want to miss Dolly Monroe on stage, nor what corvis: dessertbar has in store!