[TrueFaith77]

LOVE IS LOVE IS LOVE (Eleanor Coppola):
Eleanor Coppola explores the existential malaise and triumphs of her bourgeois female characters in PARIS CAN WAIT and, now, the three short stories of LOVE IS LOVE IS LOVE (characters toast “to us and people like us”). Through thematically intertwined tales of infidelity and regret, understanding and forgiveness, she ultimately achieves spiritual—cathartic—revelations (“beautiful secrets”). Not just truthful, it’s honest. Coppola roots her life lessons in an essentially Catholic tradition and grounds them in class-specificity (FaceTime dinner dates, retirement-age boat picnics, and housekeeper-catered secular rituals). She structures character development as relational through complexity and surprise, narrative as confession and reconciliation. Through this process, Coppola extends irony into a metaphysical perspective—a prismatic expansion of Diane Lane’s prayer in PARIS CAN WAIT. She reveals in dramatic form and in the cinematic distillation of reality an enduring presence of Love as assured forgiveness, but also the necessity of perseverance (the secret to a happy marriage? “Never getting divorced”). Taking a confessional approach—“creative non-fiction”(?) transformed into compassion—Coppola elicits from her actresses moments of grace almost worthy of Rodrigo Garcia. Most poignantly, Cybill Shepard’s politically challenging monologue encapsulates the spiritual toll of the sexual revolution through its nearly iconic perceptual reality—a benediction for the modern woman.