After 40 years and 120 million dollars, this science fiction film with Adam Driver (Star Wars) and this actress from Game of Thrones is finally showing itself: it will be released in 2024 in cinemas, but not for everyone

After 40 years and 120 million dollars, this science fiction film with Adam Driver (Star Wars) and this actress from Game of Thrones is finally showing itself: it will be released in 2024 in cinemas, but not for everyone
After 40 years and 120 million dollars, this science fiction film with Adam Driver (Star Wars) and this actress from Game of Thrones is finally showing itself: it will be released in 2024 in cinemas, but not for everyone

Culture news After 40 years and 120 million dollars, this science fiction film with Adam Driver (Star Wars) and this actress from Game of Thrones is finally showing itself: it will be released in 2024 in cinemas, but not for everyone

Published on 03/05/2024 at 07:25

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In the back of director Francis Ford Coppola’s mind for around forty years, this science fiction film will see the light of day for the first time in French cinemas. And in a very particular setting.

Films to finance a project that is close to his heart

At 85, Francis Ford Coppola seems to be moving up a gear. The director of, among others, The Godfather and Apocalypse Now films seems convinced that 2024 is the right time to launch his next film. A science fiction feature film that he has had in mind since 1980 entitled Megalopolis. A project that is close to his heart, hence the forty years he has devoted to it. It was even with his personal fortune that he financed it, notably thanks to films like Dracula, Jack and the Idealist. In an interview given to Ain’t It Coolthe director specifies:

There is no doubt that these films were made at a time when I was financially on the brink. You remember I went bankrupt at the time, so I made a series of films to pay it back and when I reached the point with DRACULA, I had pretty much solved the problem. My wife agreed with me that I should do three more studio films to save money and I could keep that money separately and use it to make MEGALOPOLIS, so I made JACK, mainly to working with Robin Williams (…) I got into THE RAINMAKER because I was also fascinated by John Grisham’s talent for writing bestsellers. After finishing that movie, I told myself I’d had enough and wouldn’t make a third studio movie, and then I took the money I made from most of the movie to put it in MEGALOPOLIS.

In a snap of the fingers, here we are in 2024. It is this year that the FFC company resurfaces, first with the official selection of films presented at the Cannes Festival since it is part of it. And two weeks before this new edition, it is media Vanity Fair who learned more thanks to an interesting interview with the director.

Ancient Rome in a futuristic New York

It is to them that we owe the first image of the film, presented above. We see Adam Driver on the skyscrapers of New York accompanied by Nathalie Emmanuel. The first plays an architect dedicated to rebuilding a city in ruins, part of the kingdom of a corrupt mayor played by Giancarlo Esposito (Breaking Bad, Far Cry 6). The second plays the latter’s daughter, torn between her feelings for the protagonist and the loyalty she feels for her father.

Francis Ford Coppola explains how he came up with the idea for such a project. We must then go back to his first films consumed when he was a child.

The seeds of Megalopolis were planted when, as a child, I saw HG Wells’ Future Worlds. This 1930s classic tells the story of building the world of tomorrow. He never left the spirit of the “kid passionate about science”, then, later, of the filmmaker.

Without going into the details of the project (once again, the Vanity Faire interview is dense and goes into great detail about the conception of the film), Francis Ford Coppola describes Megalopolis as a transposition of a coup d’état that occurred in Ancient Rome in -63 BC. JC. And that like the Roman political model, Megalopolis become “a classic of films that we watch as a family which allows us to question the spectators about our model of society”.

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