Francis Ford Coppola’s Megalopolis is a kaleidoscopic piece of late-era filmmaking that also resembles a Neil Breen Z-movie vanity project.
It’s a great time for Old Man Cinema. Legendary filmmakers are leaning into their late eras in order to reckon with their own complicity , an idealistic architect playboy with a heart and mind of gold, trying to build a utopia despite the corrupt, banal fools around him. He can literally stop time and has a monopoly on a nebulous super-material called Megalon, the latter of which helps him survive an assassination attempt and is the bedrock of his sci-fi urban renewal project.
But beyond the superhuman Übermensch leads, their wives who couldn’t hang and took their own lives, the otherworldly substances, the stiff performances, and the didactic deliveries , the link between these movies is one of personal esotericism, freed from outside obligations.
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