The final Coppola film in our mini-series is her latest, the 2017 re-make of THE BEGUILED. After our reviews, we talk about horror, tension, and the revision of traditional gendered values. This leads us on to a final discussion of Sofia Coppola’s oeuvre, when we take a look back at some new perspectives we’ve seen over the past month.Next WeekNext week we embark on our next director, Baz Luhrmann, and his first film, 1992’s STRICTLY BALLROOM: https://www.amazon.com/Strictly-Ballroom-Gia-Carides/dp/B00622BF40.This Week’s MediaJUSTIFIED (2010–15): Graham Yost, Timothy Oliphant, Nick SearcyTHE SPACE JAM CONTINUUM (2017—): Cal Noble, Chris MacLennanRecommendationsÁ LA CONQUÊTE DU POLE (1912): George Méliès, Charles Pathé

WONDER WOMAN (2017): Patty Jenkins, Gal Gadot, Chris Pine

PHONE BOOTH (2002): Joel Schumacher, Colin Farrell, Kiefer SutherlandTIGERLAND (2000): Joel Schumacher, Colin Farrell, Matthew DavisTHE OTHERS (2001): Alejandro Amenábar, Nicole Kidman, Fionnula FlanaganFootnotesHere’s the link to Á LA CONQUÊTE DU POLE, available for free: https://www.youtube.com/watch?v=mOGuRCwVCD0. It’s not as short as Sam suggested, but it’ll still only take half an hour of your time. Have a read about the 1971 version of the film, based on Thomas P. Cullinan’s novel: https://en.wikipedia.org/wiki/The_Beguiled_(1971_film). This has more information about shooting with a long lens, as explored by Rob this week — interestingly enough, as a part of wildlife film-making (which maybe says something about the film that we should have discussed more this week): http://www.untamedscience.com/filmmaking/advanced-filmmaking/shooting-long-lens. There’s more on Lord of the Flies here: https://en.wikipedia.org/wiki/Lord_of_the_Flies. And finally, here’s an simple introduction to the elements of preordained dramatic tragedy, that we were moving towards at the end of the episode: http://www.cameron.edu/~johnh/shakespeare/critical/tragedy.htm.