In suburban 1970’s America, five dreamy sisters are quarantined away from social interaction when their youngest sister commits suicide. Their doomed fates indelibly mark the neighborhood boys who obsess over them.
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Sofia Coppola’s brilliant first feature, the poetic, tragic and enigmatic The Virgin Suicides, captures the ambiguity of such hazy recollections with tender, albeit, at times, horrifying wistfulness and pain.
Coppola tells the story with a great deal of sympathy for the boys who remain marked for life by their encounters with the Lisbons, while nonetheless revealing their ongoing delusions with wit and insight.
In the hazy, dreamy, poisonous world of The Virgin Suicides, language is limiting, even imprisoning, while greater, more profound truths lie beyond narration, in the visual, in the experiential, the imaginative.