After a notoriously panned performance in Uncle Francis' Godfather 3 (she filled in after Winona Ryder dropped out of the project), Sofia Coppola laid low for a while until bursting back on to the scene with her directorial debut - the overrated Virgin Suicides. I saw this film at Sundance and, while I didn't think it was a terrible movie, I just couldn't warm up to it. I found it extremely convoluted. Still, it did show a glimmer of potential and showcased Coppola's ability to work magic with actors.

Nothing, however, could've prepared me for the sheer, quiet brilliance that is Lost in Translation. This is an unbelievably huge leap in terms of her maturity as a film maker.

In Lost in Translation, Bill Murray plays Bob Harris, a famous American actor who agrees to do some advertising work for a brand of Scotch in Tokyo, Japan. Lonely, and on the verge of a midlife crisis, he becomes smitten with a fellow American named Charlotte (wonderfully played by Scarlett Johansson) despite her being several years his junior. It seems that this intelligent young woman has issues of her own as we see her struggle to maintain a healthy relationship with her husband of two years (Giovanni Ribisi), a photographer who constantly seems to be out working. Bob and Charlotte quickly begin to fill the void in each other's hearts, and gradually develop a unique and fascinating bond.

Lost in Translation is very patient and unfolds in an extremely realistic series of conversations and situations. The dialogue that occurs between Bob and Charlotte feels very real, but it is the silence in this picture that tells so much of the story. Coppola allows her cast to shine through restrained, internal performances that resonate with honesty and uninhibited power.

Bill Murray has made us all laugh through the years, and while he has proven himself to be a dramatic actor as well (Rushmore, Royal Tenenbaums), Lost in Translation marks a career defining achievement for the legendary funnyman. His Bob Harris is a beautifully textured character that Coppola reportedly wrote specifically for him. Coppola affords Murray plenty of license to exercise his comic chops in this picture, and as usual, his quick wit and perfect timing are on full display. What sets this role apart from so many of the memorable characters Murray has given us thoughout his career, is it's dramatic depth. There are moments in this picture in which Murray is absolutely heartbreaking - without saying a single word. His final moments in Lost in Translation are beyond description. Of all the performances I've seen by an actor this year, Murray is (along with Chjwetel Ejiofor of Dirty Pretty Things) at the very top of the list.

Scarlett Johansson is also effective as the young woman who finds that she has much in common with Murray. Her character Charlotte is an intellectual and Johansen is so good in this role that I never once doubted the bond that develops between she and Bob. Age is simply not an issue. While Johansson has been good in other movies (see Horse Whisperer and Ghost World), this is by far her worthiest effort, and she deserves just as much credit as Murray for the film working as well as it does.

There are many characters in this movie but it is essentially a three character play. Aside from Murray and Johansson, the city of Tokyo serves as a vital role in Lost in Translation. This busy and somewhat frustrating locale lives and breathes just as the human characters do, and it serves as the perfect backdrop for this intimate tale of two lonely souls who are able to express their feelings towards one another in very subtle ways. Much of Lost in Translation is about communication, and it was very interesting watching Murray and Johansson communicate with one another. It was also very interesting watching them communicate with the Japanese locals.

Coppola drew inspiration for this picture from her own experiences in Tokyo, and there were scenes in the film that could have been trimmed and a few where a little explanation would have been welcome. But then I guess the confusion is intentional. I also felt that the stripping sequence (which no doubt earned this subtle, beautiful film it's R rating) could have been left out. It is funny and I understand it's purpose, but ultimately, it felt unnecessary. Still, these are minor complaints made towards an otherwise exceptional movie. Coppola is very observant and gives her cast room to breathe, and she's even found wonderfully creative ways to tap into Murray's memorable past. There's a great moment in which Murray pays homage to his old lounge singer routine, but it's so well played that it doesn't feel like an intrusive parody. And at one point in Lost in Translation, Murray even walks out on to a golf course. Almost instantly, I could hear a few cut-ups in the audience dusting off their Carl Spackler impressions ("tears in his eyes, I guess!"). Coppola also expertly captures the sights and sounds of this very busy city.

Last month I raved about Stephen Frears' Dirty Pretty Things. While Sophia Coppola's poetic Lost in Translation is different in terms of plot, both pictures have much in common. They both feature desperately lonely characters trapped in a world they don't entirely understand. And like Dirty Pretty Things, Lost in Translation has a powerful ending. One which proves that a whisper is worth more than a thousand words. This is one of the best movies of the year.