There is something truly special about being invited behind the curtain of a beloved film. To see the chaos, creativity and sheer determination that go into bringing a filmmaker’s vision to life is a privilege in itself. But Making Marie Antoinette offers something even more precious. Directed by Eleanor Coppola, the mother of Sofia Coppola, this behind-the-scenes documentary is not only a fascinating insight into the making of one of Sofia’s most ambitious films, but a loving tribute to the woman behind the camera who captured it all.

Sofia Coppola’s Marie Antoinette has become a cherished work among film lovers, celebrated for its extravagant Rococo costumes, sumptuous production design and rebellious punk sensibility. Reimagining the life of the infamous French queen through a distinctly modern lens, Coppola brought her own sensibilities to a period of history that could easily have felt distant and inaccessible. At its heart, the film embodies a recurring theme throughout her filmography: a young woman struggling to find her place in a world that feels far too big for her. It is a story of isolation, scrutiny and the peculiar loneliness of being surrounded by people while never quite belonging.

Eleanor spent time on her daughter’s chaotic film set, capturing more than 80 hours of footage as a quiet observer, often lingering at the edges of scenes to document the moments that might otherwise have been forgotten. The project eventually took shape years later, when Sofia and her mother revisited the footage during lockdown. Having attended a screen talk with Sofia before watching the documentary, I was particularly struck by the thought of these two women sitting together, looking back on a period of their lives that had long since passed.

Eleanor sadly died three years ago, making the documentary all the more poignant. Although she is rarely seen on screen, appearing only occasionally in reflections and mirrors, her presence is felt throughout. Much of the film is told through her own point of view, the camera becoming an extension of her curiosity and affection. There is a warmth to the footage that feels inseparable from the person capturing it. She is not simply documenting her daughter at work; she is preserving a moment in time.

What emerges is a portrait of filmmaking that is refreshingly honest. For all the grandeur of Marie Antoinette, the reality of its production was far from effortless. Sofia’s vision demanded an extraordinary amount of work, ingenuity and perseverance, and the documentary does not shy away from the challenges involved. From early morning shoots beginning at 5am to the constant pressure of staying within budget and schedule, the film reveals the practical realities behind the finished spectacle.

Some of its most fascinating moments come from the compromises required to create the illusion of extravagance. A scene intended to depict a full theatre, for instance, had to be achieved with only around 20 extras, relying on the ingenuity of filmmaking to make the space feel far more populated than it was. It is a reminder that cinema’s greatest spectacles are not always the product of unlimited resources, but of creative problem-solving.

Sofia herself admits that she would never undertake a project on this scale again, and the documentary makes it easy to understand why. There is something wonderfully revealing about seeing the sheer magnitude of the undertaking, particularly when the finished film feels so effortless in its beauty. Marie Antoinette is a passion project in the truest sense, and Making Marie Antoinette allows us to appreciate the labour behind its lavish surface.

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The documentary also offers a glimpse into the wider Coppola family, with appearances from Jason Schwartzman, Roman Coppola, Gia Coppola and, of course, the legendary Francis Ford Coppola. For fans of the filmmaking dynasty, these moments are an added delight. Yet it is Sofia who remains the documentary’s most compelling presence. Where her father’s filmmaking persona might be imagined as commanding and larger than life, Sofia comes across as softer and more understated, without sacrificing any of her conviction. She knows what she wants, has a clear vision for the film and is determined to see it realised.

Watching her navigate the demands of such an enormous production makes her achievement all the more impressive. There is a particular pleasure in seeing the mind behind Marie Antoinette at work, understanding how her ideas translate from imagination to screen and witnessing the determination required to preserve her creative vision.

Jason Schwartzman, meanwhile, brings plenty of humour to the proceedings. Whether playing with a real elephant or gleefully ripping at his costumes, he injects a welcome sense of mischief into the documentary. These lighter moments are essential to its charm, offering a reminder that even the most demanding productions are filled with absurdity, laughter and unexpected experiences.

One of the most remarkable aspects of Sofia’s original film was the opportunity to shoot at Versailles, a location that perfectly complements its visual extravagance. The documentary further underlines the ambition required to bring such a production together, and the significance of gaining access to a setting so intimately connected to Marie Antoinette herself. It is another testament to Sofia’s determination to realise her vision on its own terms.

Ultimately, however, what makes Making Marie Antoinette so special is the relationship between its subject and its filmmaker. Kirsten Dunst’s portrayal of Marie Antoinette gives the queen a vulnerability that allows us to see beyond the historical caricature, and the documentary deepens our understanding of why that interpretation resonated so strongly with Sofia. Striking parallels emerge between a young woman watched and scrutinised by the world around her and a filmmaker navigating the expectations that come with her family name. Both are trying to establish an identity in circumstances that leave little room for privacy.

Through Eleanor’s lens, these connections take on a new emotional significance. Her camera captures Sofia not as the daughter of a legendary filmmaker or as a director responsible for an ambitious period drama, but as a woman working tirelessly to bring her ideas to life. It is an intimate perspective that another filmmaker might never have been able to offer.

As someone who holds Marie Antoinette particularly dear, I may be predisposed to loving this documentary. But I genuinely believe its appeal extends far beyond devoted fans of Sofia Coppola. For anyone curious about the realities of filmmaking, it offers an illuminating look at the unglamorous work behind cinematic magic. For admirers of the Coppola family, it is a delightful glimpse into their creative world. And for those who appreciate the personal histories that can exist behind great works of art, it is something altogether more moving.

Making Marie Antoinette is fluffy, glorious and wonderfully human. It celebrates the ambition of a filmmaker while preserving the warmth of a mother who wanted to capture her daughter doing what she loved. In doing so, Eleanor Coppola has created something that feels like a gift: not simply a record of how a film was made, but a reminder of the people, relationships and fleeting moments that make the process meaningful.

★★★★★

Playing at the 2026 BFI London Film Festival on 7th, 8th and 10th October / Sofia Coppola, Kirsten Dunst, Jason Schwartzman, Diane Lane, Rose Byrne, Tom Hardy, Jamie Dornan / Dir: Eleanor Coppola / MUBI

About the Author

Megan Hilborne

Author

Megan is a freelance writer and film critic based in Portsmouth. She graduated with a degree in Film in 2020 and has continued her study of the medium in her day-to-day life. She takes particular interest in indie, horror, feminist and queer cinema. Some of her writing credits include an interview with Academy Award winner Sean Baker and Time’s 2025 Most Influential People inductee Mo Abudu.

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