Megalopolis – Film Review

Francis Ford Coppola’s Megalopolis dives into a reimagined 21st-century New York City, now transformed into “New Rome,” where lofty dreams clash with political ambition. Led by Adam Driver as visionary architect Cesar Catilina and Giancarlo Esposito as Mayor Franklyn Cicero, the film intertwines the essence of Roman history with modern socio-political themes, exploring the ambition and cost of building a utopian society. At the heart of this science fiction epic is the promise—and peril—of idealism.

Coppola’s attempt to blend classical Roman drama with a futuristic vision is as audacious as the architect Catilina himself, who aims to revolutionize New Rome by constructing “Megalopolis,” a monumental utopia using his innovative building material, Megalon. Inspired by the Catilinarian conspiracy and the twilight of the Roman Republic, Coppola’s screenplay builds a narrative rich with political intrigue, moral corruption, and moments of surreal, almost mystical introspection.

The plot is rooted in Catilina’s rivalry with Cicero, who seeks to preserve New Rome’s moral fabric, albeit one tainted with the hypocrisy of patrician decadence and corruption. Esposito’s Cicero embodies both a sense of civic duty and deep-seated mistrust in Catilina’s grandiose ideas. Catilina, haunted by personal loss and burdened by a history of alleged crime, is drawn to Julia (Nathalie Emmanuel), Cicero’s daughter, who becomes his muse and partner in pursuing his impossible dream. Emmanuel’s performance is refreshing, balancing Julia’s quiet strength with an idealistic, almost naïve belief in Catilina’s vision.

One of the more unique aspects of Megalopolis is its use of science fiction elements, including Catilina’s strange ability to “stop time.” This superpower, presented as a metaphor for the artistic process, feels distinctly Coppola—an exploration of the tension between timeless ideals and fleeting reality. Watching Catilina wield this ability alongside Julia, who shares this gift, is a striking narrative device, adding depth to the couple’s romance. However, the concept is so ethereal that it sometimes struggles to fit into the grounded, politically charged atmosphere of the film.

The cast is as expansive as the cityscape itself, including Shia LaBeouf as Catilina’s corrupt cousin, Clodio Pulcher, whose populist rise and subsequent descent into demagoguery mirror the danger of unchecked ambition. Aubrey Plaza’s Wow Platinum, a TV presenter and former lover of Catilina, adds a touch of satirical allure. Her manipulative schemes alongside Crassus (played by Jon Voight), the aging mogul who supports Catilina’s project, capture the decadence lurking beneath New Rome’s refined façade. This portrayal is particularly poignant, illustrating Coppola’s critique of power and wealth while also providing a cynical mirror to the political machinations of the real world.

From a visual perspective, Megalopolis is stunning. Coppola’s direction brings New Rome to life with grandiose architecture and meticulous art direction. With towering buildings and futuristic cityscapes inspired by Brutalism and classical Roman architecture, the visuals reflect the tension between Catilina’s modern vision and the legacy of Rome’s history. Cinematographer Mihai Mălaimare Jr. captures this alternate reality with sweeping shots of New Rome’s skyline and intimate scenes set against luxurious yet cold interiors, giving the film a majestic yet isolating atmosphere.

Yet, while the film is visually impressive, the narrative can feel convoluted. The storyline interweaves politics, romance, and philosophical debates, at times pulling in too many directions to maintain a steady pace. The allusions to Roman history—such as Cicero’s orations and the allusions to Cicero’s Catiline speeches—are ambitious but dense, requiring a careful viewer to unpack their significance. At its best, Megalopolis feels like a poetic meditation on ambition, love, and the struggle between idealism and pragmatism. At its worst, it risks becoming a confusing, overburdened tapestry of historical parallels and personal turmoil.

Adam Driver’s performance as Catilina carries the film’s weight, portraying him as an idealist wrestling with internal demons and societal constraints. Driver brings a tragic depth to the character, whose desire to reshape the world around him stems from his personal tragedies, including the loss of his wife. This anguish and determination create a complex character who is as flawed as he is visionary, a man haunted by his past while attempting to forge a brighter future. However, there are moments where Catilina’s existential musings risk feeling melodramatic, bogging down the film’s pacing and testing the audience’s patience.

In terms of supporting roles, Giancarlo Esposito delivers a nuanced portrayal of Cicero, blending civic pride with a hardened mistrust of Catilina’s dreams. His scenes with Driver, in which they debate the future of New Rome, are some of the film’s most captivating, providing a window into Coppola’s philosophical themes. Cicero’s speeches echo the real-life Catiline orations, though at times these lengthy monologues may feel too self-indulgent, particularly in a story where subtlety could have heightened the tension.

The film’s climax, involving a riot and a confrontation between Catilina’s supporters and New Rome’s elite, is both thrilling and symbolic, highlighting the unrest bubbling beneath the city’s surface. But Megalopolis is ultimately a character study more than an action movie. Even the climactic scenes of chaos and social upheaval take a backseat to Catilina’s internal journey and his ideological struggle with Cicero.

Francis Ford Coppola’s ambition with Megalopolis is evident; it is a sweeping narrative that combines historical allegory with a modern setting, exploring timeless themes of ambition, sacrifice, and the nature of progress. Yet, for all its philosophical musings and visual grandeur, Megalopolis can feel as unreachable as Catilina’s utopian vision. Coppola’s ambition occasionally overshadows the story, leaving certain elements underdeveloped or overly abstract.

Megalopolis is a film that rewards patience and introspection. For fans of high-concept sci-fi and historical allegory, Coppola’s vision offers a fascinating, if flawed, glimpse into a world where idealism clashes with reality. It is a polarizing film—viewers may either find themselves entranced by its beauty or lost in its complexity. Though not without its shortcomings, Megalopolis stands as a testament to Coppola’s enduring dedication to the craft of filmmaking and his desire to push cinematic boundaries. This bold, challenging epic deserves appreciation for its ambition, even if it does not fully achieve the timelessness of Coppola’s other masterpieces.