"kickstarted by a striking exposé in The Hollywood Reporter about rising tensions on set between director, cast and crew. Self-funded by Coppola, who funneled over $100 million of his vineyard profits into the film, the Adam Driver-starring film ultimately represents two things at once: a historic landmark of independent cinema on an unprecedented scale and a piece of critically derided outsider art by a megalomaniac auteur who doesn't take no for an answer."
"If you look at it with Jean-Luc Godard's observation that every fictional film is a documentary of its actors in mind, the baffled critical reception to Megalopolis hinted at a confused film by a director who had essentially lost the plot. In that sense, Mike Figgis' functions as an essential companion piece, as the director of Leaving Las Vegas (1995) shadowed Coppola's set as a fly on the wall, giving unprecedented insight in a film production previously shrouded in gossip."
Megalopolis accrued a charged reputation before its Cannes premiere amid reports of on-set tension and controversy. Francis Ford Coppola self-funded the Adam Driver-starring project with over $100 million from his vineyard profits. The film functions as both a monumental independent-cinema undertaking and a divisive piece of outsider art driven by a determined auteur. Critical responses were baffled, suggesting the final film felt confused. Mike Figgis shadowed the production, documenting creative decisions and mounting pressures in real time and revealing Coppola's unusual but often admirable working process. Figgis' interests align with process-based cinema and artist-focused filmmaking.
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