We believed in causes, like Cecilia and her passion for animal protection, and fancied ourselves music mavens who felt the same intensity about bands we loved as Lux did, see: when she is forced by the Lisbon matriarch (Kathleen Turner) to destroy all her rock records. Our personal identities were forming and we recognised ourselves in every emotional beat of the filmвЂ™s narrative. The soporific cinematography had a strikingly feminine quality - from the pockets of sunlight glittering through trees (a Coppola trademark) on suburban streets, to languid shots of beauty products littering the girlsвЂ™ bedroom. Movies featuring teenage protagonists were having a post-John Hughes revival in the late 90s / early 00s, and fans devoured smart rom-coms like 10 Things I Hate About You (1999) and horror like the Scream (1996) trilogy, but it felt like we had never seen an art film exclusively for and about us. We could project whatever we wanted to onto the girls, claiming Cecilia LisbonвЂ™s dreaminess and proclivity for writing a diary as traits of our own, and commending ourselves for being grown up enough to see a through-line between Lux LisbonвЂ™s trauma and promiscuity. Like the book, the film is pieced together from the point of view of a group of voyeuristic local boys who are infatuated with the beautiful teenage sisters вЂ“ providing a comparable air of appealing mystery about them for the audience. The sweep of Kirsten DunstвЂ™s blonde hair and whimsical lettering on the copyвЂ™s cover successfully intriguing us on the video rental shelf.ДЄdapted from Jeffrey EugenidesвЂ™ 1993 novel, which Coppola happened upon in her twenties and fell in love with, The Virgin Suicides tells the story of the Lisbons, a middle class catholic family in 1970s Michigan, and the events following the suicide of the youngest of five daughters. For me, and IвЂ™m certain many others of similar age, its impact was made during the throes of adolescence when the VHS was added to my friendship groupвЂ™s entertainment rotation. Its cult status, as Coppola has mused, was achieved post-theatrically as the Internet gave it a вЂњsecond lifeвЂќ. The Virgin Suicides was released in the US the following year, but disappeared from cinemas as quickly as the Lisbon sisters from their neighbourhoodвЂ™s vantage. She neednвЂ™t have been nervous - the directorвЂ™s debut was warmly received and gained support of critics, but of course, our humility as a sex is instinctive. Lauren Pinnington looks back on the insidious chain reaction that comes from neglected affection.Дespite encouragement from her father, the formidable Francis Ford Coppola, and the cast of The Virgin Suicides, Sofia Coppola still felt вЂњreally scaredвЂќ when her first film screened at Cannes in May 1999. While the cult status of Sofia CoppolaвЂ™s first feature only grew after its release, a key scene between one of the Lisbon sisters and a prom date reveals a crucial turning point for one teen girlвЂ™s story.

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