Review: ‘Megalopolis’ tries to cram everything into one very ambitious film

Creators use film to explore the past, present and future, and how they may intersect with reality. The fantasy element can allow deeper examination, while maintaining a safe distance from controversial subjects. History can provide insight into current events or be reimagined to produce an entirely different existence, for better or worse. Conversely, extrapolating the future can be a way of focusing on good and/or bad societal trends, stimulating discussion and reflection on contemporary civilization. In Megalopolis, Oscar-winning writer-director Francis Ford Coppola melds timelines to create an epic picture that is ultimately optimistic, while highlighting the potential for harm.

Cesar Catilina (Adam Driver) is a visionary architect, having won a Nobel Prize for creating “megalon,” a building material that’s malleable and everlasting. He now proposes the development of a phantastic utopian city, Megalopolis, that will grow with the population and meet all its needs. However, the implementation of his plan has raised opposition from Mayor Cicero (Giancarlo Esposito) and the under-privileged communities he’s tearing down to make way for his project. In between the warring corporate elites is the mayor’s daughter, Julia (Nathalie Emmanuel), who recognizes Cesar’s genius and agrees to help him realize his dream. Conversely, Cesar’s cousin, Clodio Pulcher (Shia LaBeouf), is determined to destroy him, jealous of Cesar’s accomplishments and the more favourable opinion his uncle, Hamilton Crassus III (Jon Voight), holds of him.

Coppola’s $120 million passion project is a modern-day Rome set in the near future. The politics and familial rivalries are classic ingredients for high drama. TV sensational journalist Wow Platinum (Aubrey Plaza) is Cesar’s girlfriend at the start of the movie, wishing them to be the power couple of her dreams. But in Julia, Cesar finds an intellectual equal who can help him bring his vision to fruition. Julia defies her father and breaks his heart by allying with Cesar, but she knows she makes him a better man that will be worthy of her father’s respect. Moreover, she bolsters Cesar’s eerie ability to stop time, a supernatural, sci-fi element of the story that seems tied to his genius and aptitude for greatness.

In the meantime, when Clodio is not engaging in incestuous relationships with his sisters, he is intent on harnessing the power of the disenfranchised and feeding them lies to further his agenda of bringing down Cesar — a dangerous endeavour of which he has fleeting control. Coppola’s commentary on Donald Trump’s presidency, and the rise of the MAGA forces, white nationalists and Proud Boys are apparent throughout the narrative, visually represented by the many red baseball caps worn amongst the mobs of people demanding blood. Clodio incites their rage with little consideration of the consequences, while also being overtly manipulated into taking an unpopular stance against his father. In the pre-screening Q&A, Coppola made a point to mention the cast is purposely diverse in their own political leanings to prove people can work together regardless of their beliefs or alliances. Correspondingly, he also imparts a sense of optimism in the film as progress continues to move forward and their pursuit of a better tomorrow becomes even more steadfast in the face of opposition.

Yet, juxtaposed with the thoughtful Roman spectacle and scathing liberal opinion is extreme self-indulgence. Scenes are abruptly intersected with random images of blooming flowers or psychedelic reverie. Sporadic montages with little to no relevance to the narrative scream art film, alienating mainstream viewers with its dense egotism. At one point, it even threatens spontaneous song, only to immediately dismiss the idea. The glossy imagery that transports audiences into this strange world in which past, present and future converge is repeatedly upended by Coppola’s need for visual excess. In the end, it makes an interesting film difficult to remain engaged with, thwarting its own best efforts to make a compelling statement.

Director: Francis Ford Coppola
Starring: Adam Driver, Giancarlo Esposito and Nathalie Emmanuel