Gia Coppola: "In my family they talk more about cooking than cinema"

• 'The world to come': cinema free from its eternal and stale obsession with phalluses

• Pedro Almodóvar. "My greatest illusion is to stay alive"

• Abel Ferrara Suicide as the most beautiful of fine arts

There are surnames that weigh.

They open doors (those of all the film festivals in the world), but require a minimum of composure at least.

Coppola is not one of them, he is all of them at the same time.

a (Los Angeles, 1987) knows it and accepts it with sportsmanship.

She is the granddaughter of Francis and the daughter of Gian-Carlo (the son of the director of '

who died in an accident in 1986, shortly before Gia was born).

"I am aware that if he called me something else, he might not do as many interviews," he says.

And he continues: "In exchange for that privilege, I have to say that

Probably until I die."

Indeed, in 2013 her debut almost by chance as a director (she went back and forth to be a photographer) completed a tour of festivals that others (or all) wanted: Telluride, Venice and Toronto witnessed

, a chronicle of the rich adolescence so indebted to his aunt Sofia, that he would say a footnote.

Now, seven years later, he has just walked the Venice red carpet in homage to

, a highly pop fable about the ravages of issues such as money, fame, manipulation and social media narcissism.

Its protagonists are

(daughter of Uma Thurman and Ethan Hawke), two almost adults in search of the best selfie, that is, of themselves with their mechanisms.

Again in Venice, but in a very different way from years ago ... It is very rare, but very special at the same time.

It is a privilege to be here for two reasons.

On the one hand, it is a celebration of cinema in the movie theater and despite everything.

Neither platforms nor a pandemic can end the unique pleasure of watching a movie in a theater.

And on the other hand, Italy runs through my veins.

The film is a kind of remake of

(Elia Kazan, 1957).

Does your surname force you to take classic cinema as a reference? In my house, of course, a lot of cinema has always been seen.

The reference is not pedantry, it is something natural.

The ending of the Kazan film was especially inspiring.

But I didn't want to make a movie just because;

I wanted it to be mine and to talk about topics that interest me.

And that's the power of the classics, no matter how old they are.

.

Now I think we are experiencing something similar with everything that is happening on social networks.

It is a new time that transforms the very concept of identity and that is what

is really about

, about the search for identity, about that and how the desperate search for

transforms concepts such as fame, public recognition or whatever it has been called celebrity ... What does all that mean for a person who has grown up surrounded by famous, famous and recognized people? More than all that he says, I grew up surrounded by art.

and, in fact, I have always been warned against the toxic influence of fame or cinema as an industry or just business.

For the rest, I do believe that social networks, just as they make everything more accessible, including art, cause serious distortions about what is really relevant in life.

It is hard to know who you really are amid all the noise and exhibitionism.

I don't know, maybe the pandemic will serve to reorder preferences and get closer to reality. It gives the impression that the film itself in an almost personal way obeys Gia's need to find his way apart from the Coppola surname. It's difficult to be

And more dedicating yourself to the same as them.

But it is also true that my family is a constant support and the advice that comes from everyone's mouth is to pursue your feelings and seek your own story.

In my family they talk more about cooking than cinema.

And those are basically the two activities that we do the most together.

In that order: cooking and watching movies.

That's the environment, and I understand that social networks are rarely used.

What's your relationship with them? I've never wanted to demonize social media.

In fact, I use them a lot for my work as a photographer.

As in everything, it depends on how they are used.

My idea in the film is to talk about human nature, which is a familiar constant: the stories that matter.

One could say that his film makes effective with passion that the medium is the message with the use of emoticons and all kinds of effects naturally incorporated into the narration ... The medium is always the message and the form of the film has to be in line with what you want to tell.

As Fitzgerald said, it is about looking for the different disguise to tell the same story.

is a satire, a fable ... And its form has to be what it is.

Also, emojis are already part of us.

There are many people who already use more emoticons than words to communicate.

Watching his film

,

came to mind

, from his grandfather, because of what he has to investigate the image as a vehicle of feelings ... Perhaps it is an unconscious reference.

The truth is that it is my favorite movie of him.

I imagine that you cannot control and clearly know exactly what you are inspired by. One would say that the future of the Coppola family in cinema is a woman ... Sofia, in her way, was a pioneer, and for me, without a doubt, it was a very clear and very close inspiration.

But I would speak in general.

.

According to the criteria of The Trust Project

Know more

• movie theater

• culture

Cinema Jim Carrey, Renée Zellweger and ... ¿Morante de la Puebla?

Suicidal filming: 'The mule', the film that ended up directing an anonymous masked man

Cinema 'Las chicas', by Pilar Palomero, best Spanish film at the Malaga Film Festival

See links of interest

• Last News

• English translator

• TV programming

• Quixote

• Work calendar

• Daily horoscope

• Santander League Standings

• League schedule

• Movies TV

• Topics

• Stage 9, live: Pau - Laruns

• Italian Grand Prix, live

• Spain - Ukraine, live