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Cannes Film Festival – Megalopolis, here is the world of Francis Ford Coppola’s films

Cannes Film Festival – Megalopolis, here is the world of Francis Ford Coppola’s films

Everything and the opposite of everything. Madness and philosophy, utopia and dystopia, tragedy and comedy. The crisis of conscience and the dictatorship of capitalism. Italian origins, American decadence, and the only possible redemption in the family. And again, the past, present and possible future of human destiny. In an extraordinary act in the most etymological sense of the word, Francis Ford Coppola has signed on with Megalopolis for his most ambitious cinematic universe, as well as his artistic, human and spiritual testament. Welcome victory “regardless” Tonight at the Cannes Film Festival, where it returns to competition after 45 years and two years Palme d’Or (respectively to Conversation H Apocalypse now) Major cities It was the most anticipated title of the year on the Croisette without the shadow of any challenger.

This is such an essential project for him that he rewrote it 300 times over 40 years and finally self-produced it for a year. Budget: $120 million. In short, a monstrous being bursting with formal and substantive content, something extreme from every angle you look at and which, inevitably, is destined to be. Dividing the audience and critics between worshipers and detractors. Having said that, this does not mean that it should be excluded from critical analysis and value judgement, on the assumption that when faced with such cinematic experiences, a minimal period of time between viewing and writing is useful to allow thoughts and reflections to settle.

Megalopolis is set in a dystopian future in a city called… New Rome (which is actually New York) and is – in short – the story of the challenge between a Nobel Prize-winning architect (Adam Driver) For his invention of the revolutionary and environmentally sustainable material par excellence (the megalon) capable of stopping time and the mayor of the city (Giancarlo Esposito) who opposes him, but his daughter is romantically linked to the young genius.

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If the former proposes a model for the future city based on the values ​​of Megalon, the latter fears him as a potential usurper, especially since he is financially supported by his very wealthy banker uncle (Jon Voight). Next to, under, above and around The plot of a classic tragedy Coppoli’s monumental look at the game of power which, unlike the horrific, expansive and often muted metaphysics of his 1979 masterpiece, operates here through baroque accretion, filling each of the film’s 138 minutes with fantastical revelations, ranging from unbearably kitsch to Brilliant. Intuition.

In all of this, he named the heroes of the novel after famous ancient Romans (from Caesar Catiline to Crassus through Cicero…), and had them sign Melina Canonero Stunning Empire style costumes but a sci-fi version and composed by the Argentine musician Osvaldo Goligov A soundtrack reminiscent of peplum (but then changing with the contamination of genres..) Coppola can’t help but question cinema, and pay tribute to his beloved colleagues (Orson Welles, Hitchcock, Fellini and many others..), but also films (see Ben how And many more…) and a mixture – as said – of genres, thus ranging from tragedy to comedy, from science fiction to rock opera, from thriller to political drama/conspiracy, from action to burlesque and circus, without naturally forgetting the gangster film/ Mafia.

Let’s then move on to mentioning the context as well Shakespearethe Bible no Meditations of Marcus Aurelius. Deceive Major cities Francis Ford Coppola clearly accuses The moral decadence of contemporary America (The references to Trump and Trumpism are very clear) and whose antidote can only be found in a return to the family, which for him has always been the founding and fundamental nucleus of society. In this sense, if it is true that the “romanticism” concealed in the film – for better or worse – clearly refers to its Italian origins, the United States is represented instead with its most decadent and cynical face: on the one hand by sad, retreating vocals that resemble Elvis Presley singing the American anthem. He waves a tattered flag, and it is the dollar god, on the other hand, who reigns supreme in the frenetic brilliance of terrifying figures, and in the constant graffiti referring to money. And here, in contrast to this model that brings certain destruction to the human race, comes Francis Ford Coppola’s “environmental” (in every sense) proposal. It is a return to great existential valuesincluded in a monologue that is not to be spoiled but redolent of love, life, democracy and… Let’s say it again, family.

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Please note: Megalopolis has not yet been distributed in Italy, we hope that a distributor with the courage to bring it to theaters will soon be found.