There are no words that can be put down on paper to describe the sheer chaos. Megacitythe latest film from legendary director and human trash, Francis Ford Coppola. It deliberately pushes the boundaries of cinema at every turn: America is recast as a debauched Roman Empire basking in success, and New Rome transforms into a utopian future when the old ways collapse. Coppola was so invested in the making of the film that he invested his own money, sold his winery, and recruited some of the best and most talented actors on the market; Adam Driver ( Adam Driver, Giancarlo Esposito, Nathalie Emmanuel, Aubrey Plaza and others create a story about the decline of Rome Story – Two giants, genius Cesar Catilina and mayor Franklyn Cicero, try to preserve the old order. With Cicero’s daughter, socialite Julia, caught between her father and his lover, the film confronts an age-old question: What does humanity deserve?
Rivaling the chaotic fence-swinging like “Southern Story” and the Wachowskis’ later works, Megacity It could only be made if there were no focus groups, no one said no to Coppola. It’s as personal as you’d hope, a meta-contextualized study of an eccentric man daring to stake his fortune on a vision for the future that hits just the right note: who knew Coppola would be so timely ? This is a project that has been in the works for nearly 40 years. The film opens with “Caesar” and time literally stops – stopping it in its tracks. Coppola is making a film about the old order – a man who believed in America, but a film that made him question whether America was worthy of that belief. The Republic is overthrown, celebrities and nobles shout and bleed in the circus, the scene has a unique modern expression, with an old Hollywood noir feel. It feels like a sci-fi movie made in the 1950s – at nearly three hours long, it’s a rare relic of the golden age. An out-of-time, out-of-focus film filled with dark plot points.
It does justice. The mysteries are fascinating, and ancient order, classic literature, and city planning are a healthy centerpiece of the film’s narrative. Urban planning has never been more interesting than it is here – the clash of new ideas against the old order; in the pitting of old facts against the new, Giancarlo Esposito’s ultimate role is more than just His becoming Gus Fring also allowed him to experiment with wild ups and downs in politics. The dramatic scenes in the middle of the film are quite daring and wavering in style. Bold, swashbuckling—full of chaos and energy—Coppola aims for celebrity status every time. This is what it was like before the fall of the Roman Empire. he told us.
The performance is exaggerated and dramatic. Megacity It feels more like a theater piece than a cinematic piece, with performances amplified to represent these larger-than-life things – Driver told Emanuel earlier – back at the club – in a performance that will surely be remembered as imitated theatrical performance. But this wasn’t a mistake; This is Driver at his peak, awkwardly unhinged—a man out of touch with society despite his high status. His career went from strength to strength, with the oft-maligned late Mann, Scott and Carax (among them, Annette Perhaps you will feel that the state is most comparable to a bold idea Megacity), but here he feels like he’s in unparalleled form. Emanuel brilliantly plays the socialite he’s smitten with – her character’s momentum building towards the climax – and despite feeling unearned, the character feels like a master at work. The Catyrinian conspiracy, retold in modern New York, is fully realized here – and both Jon Voight and Shia LaBeouf appear stiff; the ensemble is a visionary piece of work – Driver’s The scene where Cesar interacts with the audience was not reproduced at my screening, saving the poor low-paid souls of the Cineworld staff, but its effect is crucial – creating an alien world that is disconnected from reality . Coppola’s gender roles feel a bit dated, and perhaps that’s the only criticism, you wouldn’t go wrong with more agency in Julia and Aubrey Plaza’s “Wow Platinum,” with each actor giving a variety of different takes on the stage Performances – Plaza’s “Camp” feels like a different movie than “Cesar,” but intentionally so, and these clashes of styles collide in a way that makes Megacity It feels greater because; in spite of them.
The film is filled with hopelessness and unease that feels so overwhelming that you’ll never want to watch a movie again after leaving the theater – as the end of Hollywood as an art form, Megacity That’s it – while its ending almost feels unearned, there’s enough to love throughout its nearly three-hour runtime, and this is a bold, gutsy effort that’ll make no matter where you stand on the fence On either side, one can’t help but be admired. I love that we have both this and substance This year; two very different yet completely original works of art – showing that cinema is much safer and, as paradoxical as it sounds, movie studios aren’t afraid to take risks. This may be the biggest risk of the decade.
