The subject matter of a director is often closely related to his life experience and far from the problem of vision, so it is not difficult to understand that this film is called a sequel to "Lost in Translation". I am delighted to see that Sofia Coppola continues her photography style and way of dealing with dialogue. Well-known hotels around the world have also become a lingering feature of her style. It seems that she really needs a bit of talent to become Wong Kar Wai’s in-room disciple. . This style of casually weakening the plot is used more appropriately here, and it constantly highlights the sluggish, boring and mechanically rigid star life of the male protagonist. His mood can be identical to that of Bill Murray in "Lost in Translation," but the humorous joke is unexpectedly absent.
Maybe Sofia has no intention of repeating the previous successful routine at all. The old-fashioned design of father-daughter love may just be a love letter to his father or Hollywood. It is difficult to examine works with such a high degree of privacy. It's just a bit unbelievable to be able to kill many film masters at the Venice Film Festival and win the Golden Lion Award. Of course, if you know that the chairman of the jury is Quentin, everything is not so difficult to understand.
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