Tomorrow is a major day at Cannes. That’s when Francis Ford Coppola’s “Megalopolis” is set to premiere at the Grand Lumiere Theater. It’ll be a make it or break it moment for Coppola and his film.
Will Cannes turn out to be a redemption tour for Coppola, who has been able to defy the skeptics in the past, or is “Megalopolis” going to be a late-career disaster for an artist who has also produced his share of costly duds along with his masterpieces?
A just-published Variety write-up, titled “Can Cannes save Francis Ford Coppola's “Megalopolis”?” has sources saying that Coppola is looking for a distributor that will release “Megalopolis” in the fourth quarter of 2024, where he wants it to mount an awards-season campaign. He’s that confident in what he has.
Given all the toxicity that’s come out against Coppola and the film, those are quite the demands and a steep hill to climb on. Coppola’s confidence stems from him believing that “Megalopolis” is the best film he’s ever made.
Here’s what I think. After yesterday’s #MeToo hit piece from The Guardian, it’ll be very hard for a studio to want to touch this film. That’s just a fact, and I hate to say it. That’s why Variety’s headline is asking if Cannes can actually save this film. It’ll need good reviews.
You can bet Coppola is hoping for critics to support him and give his film the boost that it’s desperately needed for months now. That’s the only leverage he has left. In fact, a source who spoke to Variety claims Coppola might have just turned into an easy-to-root-for underdog.
“The way that it’s been set up is they had a bozo screening for all the people who really don’t buy movies. They wouldn’t know a Bertolucci movie if it hit them in the butt,” says one buyer. “Now that they’re here, it’s an underdog movie. And everyone is kind of pulling for it.”
One thing’s for sure, Friday morning’s press conference with Coppola and his cast will be wild. He will no doubt have to deal with a barrage of uncomfortable questions from the press.