Five Positive Takeaways from Coppola’s “Megalopolis”

Francis Ford Coppola’s Megalopolis has been the subject of whispers for years—a legendary project purportedly conceived after his triumphs with The Godfather trilogy and Apocalypse Now. As a decades-in-the-making passion project, expectations were sky-high, and anticipation mounted as the director described the film as a “masterpiece,” a crowning achievement of his storied career. However, after attending an advanced screening, I found myself conflicted. While I had hoped to be captivated by Coppola’s vision, my reaction was more nuanced. Thus, I decided to forego a traditional review and instead offer an observational think piece.

Coppola himself, along with actor Robert De Niro and filmmaker Spike Lee, participated in a pre-screening Q&A. The conversation veered toward familiar cultural critiques, including references to political figures and even jokes about former President Donald Trump. However, notably absent from the discussion was any candid reflection on the film itself, leaving me to grapple with my own complex response to Megalopolis. I suspect many viewers will face a similar struggle without the detailed introduction I received at this special screening.

While I wouldn’t rank this film among Coppola’s greatest achievements, there are several standout aspects that make it worth considering, particularly in an era where blockbuster filmmaking often feels more mechanical than inspired. Below, I’ll highlight five positive takeaways from Megalopolis, showcasing its strengths—even if the whole may not quite live up to the sum of its parts.

1. Visual Mastery

If there’s one area where Megalopolis absolutely excels, it’s its visuals. Coppola has always had a keen eye for framing, and here he uses every cinematic tool at his disposal to craft a cityscape that feels almost otherworldly. The angles, lighting, and composition of each scene combine to create a spectacle that I not only enjoyed but appreciated. The city itself is treated as a living, breathing character, serving as both a utopian dream and a dystopian nightmare. Even when the narrative falters, the sheer visual splendor commands attention.

He does something particularly striking with the portion of the city that is poverty-stricken, featuring statues representing justice falling over or collapsing, undoubtedly symbolic of the justice system’s failure of the community.

There’s a weight to the architecture and design of this fictional metropolis that feels reminiscent of what we saw in Ridley Scott’s Blade Runner. Coppola’s vision of a future city is simultaneously aspirational and decaying, reflecting the dichotomies with which the film grapples.

2. An Impressive Cast

The casting in Megalopolis is spot on. The film features an A-list ensemble, and each actor embodies their roles with a commitment that elevates the material. Adam Driver leads as the architect and visionary determined to build a city that serves future generations, rather than corporate interests. Driver’s performance is marked by an idealism that borders on obsession, making his character both inspiring and tragic.

Giancarlo Esposito, who portrays Mayor Franklyn Cicero, delivers yet another standout performance. Esposito, as always, is captivating, imbuing Cicero with a gravitas that underscores his belief in traditional democracy and public service. His portrayal of a man who genuinely believes in his ideals—despite the cynical political landscape he inhabits—is compelling, adding depth to the film’s exploration of governance and power.

Nathalie Emmanuel as Julia Cicero is a rebellious, liberal, and somewhat hedonistic character. Her evolution is rather rapid, as she transitions from partying and irresponsibility to becoming a more conservative, responsible assistant to Caesar. I appreciate how her involvement serves as a means for Caesar to become more focused, less risky, and less unpredictable.

Laurence Fishburne as Fundi Romaine, serving as Caesar’s driver/assistant and narrator of the film, was a huge bonus for me considering I’m a huge fan. His voice enhances the emotional notes and in-depth exploration of the characters. Honestly, I couldn’t shake the image of him as Morpheus from The Matrix due to the sci-fi elements, but that’s often the case with his sci-fi films.

Aubrey Plaza and Shia LaBeouf offer moments of comic relief, with Plaza’s biting wit and LaBeouf’s eccentric energy bringing unexpected humor to the film. Their characters, Wow Platinum and Clodio Pulche, feel like satirical avatars representing the more ridiculous aspects of celebrity culture and the social media-driven world we live in.

3. Relevance in Today’s World

In the Q&A, Coppola emphasized the timeliness of Megalopolis, and he’s not wrong. Though the film may be set in a futuristic city, the themes resonate strongly with the political and social dynamics we see today. At its core, Megalopolis is about power—who wields it, who fights for it, and how it shapes the world around us. During an election year, where every headline seems to be about a clash of personalities and ideologies, the film’s portrayal of political struggle feels particularly resonant in the moment.

The narrative also delves into how easily the public can be manipulated, particularly through social media. Coppola offers a critique of how modern society is swayed by online platforms, celebrity endorsements, and the 24-hour news cycle. These themes may not break new ground, but they add a layer of relevance to the film, making it feel like more than just a futuristic fable.

4. Humor in Surprising Places

Megalopolis was unexpectedly funnier than I anticipated. While Coppola isn’t known for comedy, the film features several moments of levity, many of which come from Shia LaBeouf and Aubrey Plaza. Their comedic timing is sharp, with LaBeouf playing up the quirks of his character to hilarious effect, while Plaza delivers her lines with a deadpan brilliance (not unlike her character in the Peacock hit series Parks and Recreation) that undercuts the film’s more serious moments.

Even Adam Driver, known for his intensity, manages to infuse his performance with moments of humor. Whether it’s a quick quip or a subtle smirk, these lighter moments help balance the film’s weighty themes, making it more accessible for audiences who might otherwise be overwhelmed by its grandeur.

The funniest moment was in the third act, thanks to Jon Voight’s performance as Hamilton Crassus III. This helped me refocus on just the film’s enjoyment and distracted me from piecing together the story and the previous acts.

5.  Meticulous Costume and Set Design

Another triumph of Megalopolis lies in its costume and set design. Every detail feels meticulously crafted to show a simultaneously futuristic world rooted in the familiar. The costumes, designed with both elegance and functionality in mind, speak to the personalities of the characters, while the set design gives us a city that feels simultaneously modern and ancient. 

The film’s sets are sprawling, yet intimate, offering a sense of space that is crucial to grounding its philosophical musings. Coppola’s ability to transport us to this world is one of the film’s great successes, and it’s easy to get lost in the aesthetics, even when the story itself becomes muddled.

Final Thoughts

While Megalopolis may not be the masterpiece Coppola intended, it is far from a failure. Its visually appealing, strong performances, timely themes, and moments of humor make it an intriguing watch, even if it falls short in delivering a coherent and satisfying narrative. For cinephiles, history buffs, or fans of grand, ambitious filmmaking, it’s a film that should to be seen, flaws and all. However, for the casual viewer, the disjointed storytelling and confusing conclusion may leave much to be desired. Ultimately, I’d give Megalopolis a 6/10—a film with all the ingredients for greatness but lacking the final touch to bring them all together to form the delectable masterpiece Coppola’s name invokes.