In a nutshell (and without giving too much away), Megalopolis is a fantasy/drama set in a futuristic New York City, reimagined as New Rome. The film follows Cesar Catilina (Adam Driver), Chairman of the Design Authority of New Rome, who dreams of rebuilding the city into a utopian society using a magical bio-adaptive material called Megalon (more on that in a bit), for which he received a Nobel Prize as its inventor. Cesar’s ambitions put him at odds with the corrupt Mayor Franklyn Cicero, played by Giancarlo Esposito, who represents the old guard resistant to change. The narrative explores themes of power, ambition, and the clash between old systems and new visions, further complicated by Cesar’s romantic involvement with the mayor’s daughter, Julia, played by Nathalie Emmanuel.
Other members of the impressive cast include Aubrey Plaza, Shia LaBeouf, Jon Voight, Jason Schwartzman, Talia Shire, Grace VanderWaal, Laurence Fishburne, Kathryn Hunter, Dustin Hoffman, and Chloe Fineman.
In the words of one reviewer, Megalopolis is “unabashedly, absurdly theatrical, with boldly unnatural dialogue and performances, [and] ostentatious imagery.” It is full of broad, expressive gestures—a supernatural fable. The acting is exaggerated, with Aubrey Plaza, Shia LaBeouf, and Jon Voight delivering especially over-the-top performances. Like a Shakespearean play, the film delves into the complexity of human emotions and moral dilemmas, including love, the intoxication of power, the depth of betrayal, and the existential forces guiding human life, whether it’s destiny, fate, or individual choice. The Shakespearean allusions are manifestly literal, to the point where Cesar recites Hamlet’s “To be or not to be” soliloquy in its entirety.
Several philosophical themes provide depth to the storyline. One of the central themes is the conflict between progress and tradition. Cesar embodies the drive for innovation and a utopian future, while Cicero stands for the preservation of the status quo. This dynamic reflects broader societal debates about the costs and benefits of progress. Additionally, the film portrays a generational power struggle, highlighting how older generations, represented by Cicero and other established figures, hold onto power and influence, often at the expense of younger, more progressive voices like Cesar.
While a visionary, the character of Cesar Catilina is not entirely sympathetic. He is undeniably ego-driven and megalomaniacal. His relentless pursuit of his vision blinds him to the ethical implications of his actions. Conversely, Cicero, despite his corruption, appears relatable. His resistance to change and preservation of the status quo reflect a human and understandable fear of the unknown, making his character more nuanced.
Some critics have likened Megalopolis to The Fountainhead by Ayn Rand, and I can see the parallels. Both works feature architects as central figures who are uncompromising in their visions and face significant opposition from established powers. Cesar’s character, much like Howard Roark in The Fountainhead, is driven by a singular vision and a refusal to conform, which can come across as both admirable and troubling. However, while The Fountainhead champions individualism and Objectivism, Megalopolis seems to critique the potential dangers of unchecked ambition and the ethical complexities of pursuing utopian ideals.
Cesar’s ability to stop time is a significant plot device (never fully explained) that symbolizes his visionary capabilities and the extent of his ambition. This ability is not just a fantastical element but a metaphor for his desire to control and reshape the world around him. It allows him to manipulate events and create opportunities that would otherwise be impossible, underscoring the film’s exploration of power and ambition. Similarly, Megalon, the magical material Cesar invents, is essential to the plot and serves multiple symbolic purposes. It signifies the technological and creative breakthroughs necessary for Cesar’s utopian dream.
Notably, Neri Oxman (the Israeli American designer and academic known for her experiments with generative design and the study of material properties including both mechanical and biological processes) served as the film’s “architectural and scientific advisor.” The work of Oxman and her collaborators informed the concept of Megalon and the futuristically organic look of Megalopolis as triumphantly realized by Cesar. She even briefly appears in the movie in a cameo role.
Visually, Megalopolis is a bit of a mess. I understand that Coppola’s intent was to eschew realism and ensure its reading as an allegorical fable, with surrealistic imagery used as stand-ins for deeper or layered meanings. That said, I often found the affected dialogue, visual style, and costuming distracting, and much of the CGI annoyingly crude, almost to the point that I question whether that was what Coppola wanted.
On balance, what did I think of Megalopolis?
I truly did like Coppola’s bold vision and the film’s philosophical undertones. I appreciate work that conveys a thought-provoking message entertainingly. I do know others criticize Megalopolis for being overstuffed and lacking coherence. The film is undeniably polarizing. I know that many found the movie disjointed and hard to understand. And I do think it is overly ambitious in scope; there’s only so much you can pack into 138 minutes of run time. Nevertheless, it is that ambition and Coppola’s unconventional execution that appeals to me.
I want movies that transcend the ordinary and engage deeply with universal human experiences. I want to be challenged to think beyond my immediate reality, offering me fresh perspectives on life, existence, and the human condition. By tackling timeless themes like love, mortality, power, and identity in an innovative and thought-provoking way, such work prompts introspection, inspires awe, and often sparks conversations that resonate across time and cultures. I want movies that stretch the boundaries of creativity and intellect, ones that invite audiences to explore profound questions about themselves and the world. I think Megalopolis does this, or at least deserves credit for trying to.
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If you’re interested in seeing Megalopolis yourself, I recommend doing so soon. It’s been a flop at the box office, reportedly grossing only $7.5 million worldwide as of this weekend (against a production budget of $136 million), so it won’t be long before it is pulled from theaters and relegated only to digital video releases.
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