When legendary artists have really made it, they should be able to do anything, right? Their creativity unfettered and untethered from pleasing others or financial concerns. By this margin, Francis Ford Coppola is living the dream. He became an icon for classics such as The Godfather (1972) and Apocalypse Now (1979). And for forty years he has been working on his magnum opus called Megalopolis. He funded the entire film — $120 million — by taking a line of credit out on his own winery No one could put a damper on his creative vision.

And the result, suffice it to say, is unlike anything any of us have ever seen. But is that a good thing? Is this film going to change cinema forever because it’s so experimental? Or is this more of an emperor’s new clothes situation? On this episode of The Long Take Review, Antonio, Greg, P.T., and I share our fairly unanimous response to the film, and then go on to try to make sense of its themes, socio-political commentary, and stylistic choices. You’ll have to hear us talk about it to believe it!

We go into SPOILER MODE pretty quickly on this one, around the 14:51 minute mark.

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Image Credit: Vanity Fair

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