Megalopolis: Coppola's Ambitious Cinematic Experiment Divides Audiences

The Toronto International Film Festival's lone press screening of Francis Ford Coppola's highly anticipated film, Megalopolis, was marked by two instances of unconventional audience interaction that left attendees perplexed. From a man posing as a journalist to an unexpected alarm blaring during a key scene, the screening was a testament to the film's ambitious and unorthodox techniques. However, the overall response to the film has been mixed, with critics struggling to grasp the convoluted plot and the director's lofty ambitions.

A Cinematic Experiment Pushing the Boundaries of Storytelling

Unconventional Audience Interactions

The first instance of audience interaction occurred when a man, seemingly hired by the production team, stood up midway through the film and approached a microphone stand hidden off to the side. He then proceeded to ask a question to Adam Driver's on-screen character, who responded as if in a press conference, breaking the fourth wall. This experimental element has been reported at other screenings, generating substantial buzz around the film's innovative techniques.The second instance of audience interaction was even more unexpected. During a scene where one of the characters is arrested, the sound of police sirens on the screen was accompanied by an actual alarm blaring throughout the theatre, ringing considerably louder than the sirens. It took the reviewer 20 minutes to realize that the alarm was not part of the film's experimental design, but rather a real-world disruption.

A Convoluted and Ambitious Narrative

The plot of Megalopolis is a complex web of interconnected storylines and characters, making it challenging for the reviewer to grasp the director's intended message. The film follows the power struggle between influential architect Cesar Catilina (Adam Driver), vindictive mayor Franklyn Cicero (Giancarlo Esposito), and powerful banker Hamilton Crassus III (Jon Voight), as they vie for the future of the fictional city of New Rome.Alongside these central characters, the film introduces a host of other equally prominent figures, including Crassus's scheming son Clodio Pulcher (Shia LaBeouf), corrupt newshound Wow Platinum (Aubrey Plaza), Franklyn's idealistic daughter Julia Cicero (Nathalie Emmanuel), and Catilina's dedicated assistant and the film's narrator, Fundi Romaine (Laurence Fishburne). The narrative is further complicated by subplots involving time manipulation, magical metal, and a decommissioned satellite hurtling toward Earth.

A Passion Project with a Troubled History

Megalopolis has been a passion project for Coppola, who has reportedly undertaken more than 300 rewrites over the span of decades, according to Variety. The director's commitment to the project is evident, with the film being self-funded by Coppola himself, who has invested over $100 million US into the production.However, the film's convoluted and ambitious nature has led to a mixed response from critics. The reviewer notes that the film's attempt to draw parallels between the fall of Rome and the projected fall of the United States is one of the few points of value, as it will be of interest to those with an eye for history.

Inaccessibility and the Pitfalls of Ambition

The reviewer argues that Megalopolis ultimately fails to connect with its audience, as Coppola's attempt to create a high-minded, symbolism-laden narrative has resulted in an impenetrable fog of metaphors and ideas. The film's self-indulgence and lack of clarity make it difficult for viewers to engage with the story and find meaning in the director's intended message.The reviewer suggests that Coppola's self-funded approach has allowed him to bypass the input of wary investors, who might have pushed back against the film's antagonistic approach to the audience. This lack of external oversight has resulted in a project that is "inaccessible to the point of satire," tarnishing Coppola's legacy and serving as a cautionary tale about the dangers of unchecked ambition and self-importance in the filmmaking process.