In 2005, Eleanor Coppola filmed her daughter Sofia directing Marie Antoinette at the Palace of Versailles, the first production ever granted access to the palace. For two decades, eighty hours of footage went unseen. Now, twenty years after the film’s release and in fulfillment of her mother’s wish, that footage becomes a film of its own. Making Marie Antoinette follows the making of this landmark production, Milena Canonero’s costume work, and what it took to direct at 34, watched the whole time by her own mother.

The Garden Cinema View:

Making Marie Antoinette operates on two levels. As a behind the scenes peek into Sofia Coppola’s ambitious and provocative take on 18th century French history it is 20 years overdue (although happily a new restoration is imminently coming to cinemas). It is nonetheless remarkable to see to astonishing level of craft in the costumes, production design, wigs, and makeup that made for such a challenging shoot for Coppola. As a mother’s observation of her daughter at work, it is very touching. Sofia Coppola is a remarkably relaxed and friendly director, but Eleanor Coppola can read the immense pressure in her body language – and her diary entries record the intense mixture of concern and pride she felt during production. The release of Making Marie Antoinette is itself a tribute to the recently passed Eleanor Coppola from her children Sofia and Roman – adding another emotional layer to the film.