THE SHAPE OF THINGS TO COME

In the recent Megalopolis promotional run, Coppola said he’d define this film with one word—loyalty. With this vague descriptor, we can apply this lens of loyalty to two critical aspects of the film: loyalty to one another and loyalty to an image. In this film, faith in dreams and ambition is apparent throughout, and Coppola’s beliefs are tuned to such a degree that they exhibit a collective romanticism for humanity.

Through the film’s depiction…

An excerpt from my essay on Coppola’s artistic developments within 1983’s Rumble Fish and 2009’s Tetro - contains plot details for both films, alongside some more vague ones for The Godfather Trilogy, The Conversation and Apocalypse Now.

In both writing and directing, Coppola's style inherently lends itself to a more extensive metatextual discussion, which could not be more apparent in both Rumble Fish and Tetro. Writer Jeff Menne claims that “one plank in [Coppola’s] aesthetic was this notion that representation,…

I think there’s a really lovely romance going on between the leads, and I find it endearing how much Ôbayashi emphasises the importance of the Kawasaki motorcycle to Ko. Not in a purely romantic sense, I find sharing my own passions with others who may not be familiar with them, and vice versa, to be such a rewarding endeavour that it can lead to a much stronger relationship. I’ve never met someone I didn’t love who I didn’t have to…

Has anyone mentioned how odd it is that the guy behind a multi-billion-dollar franchise had his first film be about a society where sex is illegal??? Just me???

Watched the 2004 Director’s Cut, which I don’t believe I’ve seen since my first viewing in 2020. It’s still quite watchable and keeps most of its succinct visual ideas intact, albeit overexplaining quite a few of the thematic stuff, but my goodness, are some of these CGI inclusions egregious!

Having the theatrical…