Wes Anderson and Roman Coppola Team Up to Make a Short Film for Prada Candy L'Eau Perfume
Frequent collaborators Wes Anderson and Roman Coppola get together once again to bring us a short film for Prada’s new fragrance Prada Candy. The film has its auteurs’ thematic, cinematic, and aesthetic fingerprints all over it, which makes you forget that you’re in fact watching a commercial. Set in France, the film follows two young and attractive men as they vie for the affections of the beautiful “Candy.” Watch the short and go behind the scenes after the jump:
Mirroring the fragrance itself in its tone, mise-en-scène, and actress Léa Seydoux, this “filmercial” (thanks Fashionista for that gem!) is playful, seductive, and warm. It reminds me of the Nouvelle Vague films of France made in the late 1950s and 1960s, and obviously pays homage to François Truffaut’s Jules et Jim (my second favorite movie of all time). “Candy” is a precocious young woman with the joie de vivre of Jeanne Moreau’s “Catherine,” while “Julius,” Rodolphe Pauly, and “Gene”, Peter Gadiot, follow her around awestruck.
Even though the narrative is simple, the film about this ménage à trois garnered significant attention, so much so that a behind-the scenes-featurette was made. In it the characters as well as Coppola talk at length about the character of “Candy”, who seems to emulate the attitude and spirit Prada envisioned for their fragrance. Coppola also goes on to describe what it’s like to work with Anderson, stating that, “We’ve done a lot of different things together, so it’s quite natural to work together and to feel — you know — in sync about what we’re doing.”
What do you think about Anderson and Coppola’s short film? What do you make of filmmakers like this making commercials, and what does it indicate, if anything?
[via Creative Planet Network]
- Watch a Video Analysis of the Signature Shots of Kubrick, Tarantino, and Wes Anderson
- Short Film 'Pockets' Will Make You Think Differently About That Utilitarian Pouch
- Wes Anderson Describes How He Avoids Writing Themes on 'The Treatment'