Megalopolis

I may be in a minority, but I enjoyed this. It looked gorgeous and I liked what it was doing.

It is not, however, a plot film. Or a character film. I look at the synopsis and think "well, I guess that could describe what happened - if you ignore what the film is"...

And what the film *is* is a Statement! It's an argument, a discussion. And not everyone is going to like the discussion or the outcome. It's a battle between the hopeful Future and the broken Now, idealism and stagnation (or corruption), sweeping change and incrementalism. It's references and allusions and theatrical monologues and dialogues which ask you to think.

And I like all of that

This is NOT a movie the average movie-goer (or streamer I suppose) will sit down to watch and enjoy and have a good time. Especially if American, with a lot of the sentiments in here. But regardless, it's more like an onion with so many layers, each full of a myriad references of all kinds: direct or "meta", but all of those are thought-provoking. And it's hard to actively think while trying to watch a movie, trying to watch anything, especially something like this.

This is an epic, in as classic sense of the word as it can get. An epic in the form of a giant visual feast, opulent, decadent, mixing so many styles from every aspect of life (including cinema itself), throughout the history of mankind. It's not an easy watch, not something to have play in the background while doing something else. It requires attention. It needs a lot of time to just unwrap those layers, those references - and even that alone requires quite a bit of knowledge. And after that, yeah, one may start thinking about the meaning. Start having conversations, start talking about it. If there's sufficient company; alone... it's gonna be suffocating. It's also gonna need rewatching a few times.

> No time to talk of people's future? Yet there's always time to convince them to use money they don't have, to buy things they don't need, to imitate people they don't like.

I grew up holding Foreign Films, or, Art Films, in high esteem.
This ranks with the best of them.
He obviously put a lot of thought into this, and I'm so glad he got to make it (And, what a success getting all those actors to join in)!

A story conceived by a director whose time is running out and starring a man who can stop time, the representation of a society in decline that reflects in the fall of the Roman Empire, with the rise of populism and the construction of a megalomaniacal utopia. This long-cherished cinematic dream results in a film that may be as excessive and megalomaniacal as its protagonist, but which is essentially Francis Ford Coppola at his most creative, full of ideas and a visual richness that is as fascinating as it is disappointing, but which reflects the deep personal conviction of a privileged mind.

Brilliant performance by Adam Driver. The tone of the film felt somewhat off though, wish it leaned more into campness or was more serious, because /the/ murder scene felt really out of place. The collapse of the "enlivened" Statue of Liberty is one of the coolest things I've ever seen.

Aubrey could give me a forceful mustache ride anytime.. lol got damn

“Megalopolis”, by Francis Ford Coppola, is a bold production that defies narrative and visual conventions. Far from a traditional film, it’s more of a cinematic delirium—a visual and philosophical immersion that flirts with the sublime and the provocative. At 80, Coppola shows an uncommon creative vitality, refusing to conform to established standards or easy expectations. His choice to explore dense themes and mix historical and philosophical references with an extravagant aesthetic reveals the depth of his ambition. In this way, “Megalopolis” is as much a meditation on human nature as it is a sensory experience. Coppola doesn’t just deliver a film; he offers an artistic manifesto that invites the audience to confront their own ideas of grandeur and meaning.

The story makes an audacious attempt to reflect the crisis of contemporary American society by drawing a parallel with Ancient Rome and incorporating elements of futurism. The plot follows archetypal figures representing different roles of power and idealism, suggesting the timelessness of issues like power, vanity, and societal decay. At the heart of it, Adam Driver portrays the architect of Megalopolis, a utopian city that arises as an answer to urban decay and discontent with the dystopias of modern capitalism. Driver’s character embodies idealism faced with reality as he tries to reconcile utopian visions with present-day chaos. The city represents not just a refuge, but a critique of metropolitan deterioration and the challenges of an exclusionary economic system, creating a story that goes beyond the individual and reverberates with social questions.

The star-studded cast, including Giancarlo Esposito, Aubrey Plaza, Jon Voight, and Shia LaBeouf, adds to the dramatic impact of “Megalopolis.” Each actor brings a quality to the story that fluctuates between tragic and comedic, contributing to the Shakespearean tone of the production. Their performances swing from deep seriousness to exaggerated theatrics, creating almost absurd moments that feel like scenes pulled straight from a soap opera. This ambivalent mix adds a unique charm but can also become exhausting, as the film demands the audience constantly switch between exaggeration and introspection. The constant oscillation between caricature and complexity creates characters that remain undefined, like pieces in a narrative game that Coppola seems reluctant to fully flesh out.

Visually, “Megalopolis” is a spectacle of opulence and detail, where Coppola spares no effort to create a grand aesthetic. The sets are meticulously constructed, evoking an almost dreamlike universe where ancient and modern collide in a decadent metaverse. Scenes are crafted to dazzle, with lavish architecture and visual metaphors that aim to elevate the experience to an epic scale. However, this excess of grandeur can, at times, overwhelm the audience. It feels as though Coppola insists on awe, which, combined with the film’s inconsistent pacing, dilutes the intensity of its visual messages. Instead of a gradual sense of wonder, the excess of visual elements compromises full immersion in the story and becomes an obstacle to the plot’s strength.

Narratively, “Megalopolis” blends the complexity of a political tragedy with the unexpected lightness of an existential comedy. Themes of decay, greed, and intergenerational conflict paint a portrait of humanity’s destructive, yet redemptive, potential. Coppola seems to aim for a synthesis between these contradictory elements, but the script ends up saturated with underdeveloped ideas, resulting in a flood of concepts. The audience is taken from moments of depth to absurd humor, creating an experience that alternates between fascination and frustration. The attempt to tackle multiple complex themes, while admirable, ultimately dilutes the emotional and philosophical impact of the work, creating a feeling of dispersion that weakens its narrative cohesion.

However, it’s in the provocative nature of “Megalopolis” that it truly shines. Coppola seems determined, perhaps in his last major project, to defy all the conventions the film industry would expect from a production of this scale. He delivers a work entirely focused on his artistic vision, without concessions. The film doesn’t aim to be easily understood or to please viewers looking for a straightforward story. Instead, Coppola creates an intentionally dense and, at times, disjointed experience where the viewer must contend with abrupt tonal shifts and the absence of a cohesive narrative line. More than a conventional film, “Megalopolis” presents itself as a study of creative freedom in its purest form, making it a work admired more for its audacity than its technical execution.

Overall, “Megalopolis” divides opinions: for some, it represents a masterpiece of auteur cinema, while for others, it seems to get lost in its own pretension. Regardless of final judgment, the film represents Coppola’s authentic vision—a courageous expression of a veteran filmmaker who refuses to compromise his art for an easy narrative or accessible aesthetic. Thus, the film is not merely something to be appreciated or criticized but a manifesto from an artist who refuses to abandon the integrity of his vision. This attitude, while polarizing, commands admiration, as “Megalopolis” stands as the final act of one of the greatest filmmakers of the 20th century. Beyond simply liking or disliking the work, the true appreciation lies in recognizing the courage and passion that drove its creation.

I think people are taking this way too seriously.

This movie was FUNNY. The whole theater was laughing regularly throughout.

Lots of cool visuals, and interesting world-building.

The main problem is that the underlying message was confusing. I don't know exactly what the takeaway for the "fable" was supposed to be, but it was certainly though provoking.

Francis did a revolutionary film again. Not a succesful one tho gotta admit. The budget was huge and out of his pocket. He made it because he wanted to make it. Not for the money. I can respect him for this.

It is a completely new vision. The movie feels like a sci-fi theater play. Unique for sure. Give it a try.

A nearly impossible movie for me to rate, because I felt emotions during this movie that I've never felt before.

The dialogue and blocking of many scenes felt like it was an adaptation of a stage play. More or less everything was symbolic in nature. There's no discernable structure to this movie. It's confusing and hilarious, even when it doesn't mean to be. I have no idea what the themes are, or what the movie was trying to say on a scene-to-scene basis.

This is the most fascinating movie I've ever seen. I'll be outright and say that it's not inherently a good movie, but if you plan on watching it, let it take you by the hand on a crazy experience, even if your mind might question what the heck is going on.

I think Benoit Blanc said it best:
"It makes no damn sense! Compels me, though."