‘메갈로폴리스’ 첫 티저 트레일러

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An accident destroys a New York City-like metropolis already in decay.

Cesar, an idealist, aims to rebuild the city as a sustainable utopia, while the venal mayor, Frank Cicero, has other plans.
Coming between the opposing men and their visions is Frank's socialite daughter, Julia.

Tired of the attention and power she was born with, Julia searches for her life's meaning

The early industry screening for studio executives resulted in anonymous leaked reactions that ranged from impressed to perplexed.[8]

It was also considered divisive while some were mixed,[69] though others were primarily of general bewilderment.[70]

Such mixed reactions include:

"It's unflinching in how batshit crazy it is.";[71]

"Does it wobble, wander, go all over the place? Yes. But it's really imaginative.";[50]

and "It's so not good and it was so sad watching it. Anybody who puts P&A behind it, you're going to lose money. This is not how Coppola should end his directing career."[50]

Deadline Hollywood's Mike Fleming Jr., more receptive toward the screening, wrote the film is "crackling with ideas that fuse the past with the future, with an epic and highly visual fable that plays perfectly on an IMAX screen. [Coppola] covers complex themes in a remarkably brief two hours and thirteen minutes, not including credits".[6]

The film was further described as a mix of Ayn Rand, Caligula (1979) and Metropolis,[70] and about a civilization teetering on a "precarious ledge, devouring itself in a whirl of unchecked greed, self-absorption, and political propaganda".[72]

Furthermore, many attendees praised Shia LaBeouf's performance as one of the antagonists.[50]

Fellow director Gregory Nava called it "a visionary masterpiece", complimenting the acting of LaBeouf and Giancarlo Esposito as "particularly sterling", adding: "It's an unbelievable, astonishing film, and [Coppola] is pushing the boundaries of cinema ...

[Coppola] has used visual effects, and things that before have simply been limited to superhero movies, in a way to evoke other kinds of emotions."[73]

Coppola compared the early reception to Megalopolis to the first reactions to Apocalypse Now, stating: "This is exactly what happened with Apocalypse Now 40 years ago.

There were very contradicting views expressed, but the audience never stopped going to see the film, and to this day Apocalypse Now is still in very profitable distribution.

I am sure this will be the same situation with Megalopolis. It will stand the test of time."[73]

Journalist Bilge Ebiri of Vulture criticized the mixed post-screening reactions, writing: "The fact that these quotes were full of self-satisfied business-speak (amplified by an industry press that seems to love bean-counting almost as much as do the execs they cover) didn't help matters. As soon as these opinions appeared, they were met with online blowback from people who deemed these execs anti-art philistines and know-nothings ... But the real question of this most recent chapter of the Francis Ford Coppola saga isn't about Megalopolis, a movie we'll be arguing about plenty when it opens. It's about whether Hollywood and the culture into which it releases its movies still have any room left for true dreamers."

이 영화는 Ayn Rand, Caligula(1979)와 Metropolis의 혼합으로 묘사되었으며,[70] "확인할 수 없는 탐욕, 자기 흡수 및 정치적 선전의 소용돌이 속에서 스스로를 삼키는 불안정한 난간에서 비틀거리고 있는 문명"에 대해 설명했습니다. .[72]

저의 현재 판단은 예술적 성취, 그리고 비주얼적 성취에서 아마 진보적인 면이 있는 거 같습니다. 기대해도 좋겠네요

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