The Failure of Coppola’s Megalopolis Signals the Tragic End of the Era of Big-Budget Auteur Films

Megalopolis is almost certain to be a box office failure. The question that remains is whether Francis Ford Coppola’s latest film is an ambitious but misguided project or a misunderstood masterpiece. Megalopolis is also becoming a symbol of a type of cinema that combines big-budget spectacle with artistic vision. However, this type of film is fading away.

Auteur cinema. Megalopolis is undeniably an auteur film, both creatively and financially. Coppola provided the $120 million budget for the movie himself, which he has wanted to make since the 1980s.

$20 million extra. That’s not all. Coppola also covered the distribution and marketing costs after reaching a deal with Lionsgate to distribute Megalopolis. This was a very favorable deal for Lionsgate, given that the director had to agree to it when the film struggled to find a distributor. Perhaps this difficulty in finding a distributor reflects the current lack of confidence in the commercial success of auteur films.

Lack of trust. A few months ago, Coppola struggled to find the distribution that should have been guaranteed for a film directed by someone with his reputation. In today’s world, it’s not surprising.

Woody Allen is once again thinking of retirement, although this probably goes beyond the commercial reception of his films, for sure. Meanwhile, Clint Eastwood risked his long-standing relationship with Warner Bros. when CEO David Zaslav declined to finance Cry Macho, which was a box office failure.

Martin Scorsese has canceled the shooting of his next two films, and George Miller, after the big Furiosa failure, is facing difficulties similar to those he has encountered throughout his career. Additionally, directors like John Carpenter, David Lynch, John Waters, and, most recently, David Cronenberg have all been “forced” to retire.

The dilemma of the auteur director. Auteur directors are generally less efficient, quick, and profitable than the creators of today’s blockbusters and franchises. However, until recently, their names were essential in providing prestige and variety to the film industry. Only those who have financial independence (like James Cameron), those who consistently produce blockbusters and have industry approval (like Christopher Nolan), and those who have a unique creative vision but are still involved in sequels and franchises (like Denis Villeneuve) can survive in the industry.

Scorsese was right. We all remember Scorsese’s words and his apparent criticism of superhero movies in 2019: “That’s not cinema.” It’s now clear that he wasn’t against superhero movies themselves but rather against the dominance of blockbusters, sequels, and safe, unoriginal films in the movie industry.

Other types of movies, including those by Coppola, are marginalized. The challenge is how to finance a $120 million film without major backing. It remains to be seen how this situation will develop, but it seems that Megalopolis could be the last film of its kind.

Image | Ligonsgate

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