As a film enthusiast who has spent countless hours immersed in the celluloid dreams of the big screen, I must say that the state of Hollywood today leaves me feeling more disillusioned than a starlet on her way to the Chateau Marmont after a particularly grueling audition.
In a new Rolling Stone interview, Megalopolis director Francis Ford Coppola addressed allegations of him kissing and touching extras without their consent on this film’s set. “You’re talking about the Guardian piece, which is totally untrue. If you read that piece, you’ll realize that whoever the sources were — and I honestly don’t know who the sources were — it’s the same people who provided quotes for that Hollywood Reporter piece that said all these people were fired or resigned, and that there was a mass exodus, all of that…It’s all so ridiculous. Look at the timing of that article. It’s right before we’re about to premiere the film at Cannes. They’re just trying to damage the picture.”
Megalopolis actress Lauren Pagon claims that filmmaker Francis Ford Coppola inappropriately hugged and kissed her without her consent. This wasn’t an attempt to harm the movie, but rather a response to another actress claiming nobody on set was made uncomfortable. Instead of acknowledging these concerns, Coppola is labeling them as a “conspiracy”. This is similar to Elon Musk blaming a “woke mind virus” for his daughter identifying as trans. Like Musk, Coppola is a powerful figure who seems to be shifting blame and portraying himself as the victim, rather than addressing the allegations against him. The people making these accusations are not the victims; they are being targeted by Coppola and Megalopolis.
Additionally, he made remarks about the film Megalopolis. Notable characters in this production include Dustin Hoffman, Jon Voight, and Shia LaBeouf. Hoffman has faced accusations of sexual assault, while Voight is known for his support of the Trump administration. LaBeouf, on the other hand, has been accused of sexual misconduct and is set to appear in court regarding these allegations in October. Coppola stated that he didn’t want the production to be perceived as a preachy Hollywood film, saying, “I didn’t want it to seem like we were just another woke Hollywood project lecturing our audience.” He further explained that the cast members had faced various controversies in the past, ranging from conservative political beliefs to progressive views. However, they all came together for this film, which Coppola found intriguing.
There’s a lot to break down in these bone-headed comments. As said before, an exorbitantly wealthy man like Coppola acting like accusations of inappropriate behavior is part and parcel of a “grand conspiracy” is insane. You’re a man with enough money and influence to spend $100+ million on a movie like Megalopolis without going broke. You are not the powerless victim in a scenario where working-class women accuse you of inappropriate behavior. Then there are his comments on casting Hoffman, LaBeouf, and Voight in Megalopolis. These really show that Coppola has lost the plot as far as being in touch with modern reality.
In the 190s, Francis Ford Coppola’s film “The Conversation” showcased a profound understanding of the pervasive paranoia prevalent in American society during that time. Fast forward to 2024, Coppola is expressing strong opinions about “wokeness” and “canceled” artists. The director of “The Godfather” has become an older white male defending themselves using Twitter as a and validate ways, In they, in’said by, inatically reclyd, Copisibly, Copomainy: Hereo Copomity: 1, Francis, Francis, Francis, Ined, herely: Inen, Copia, Coppolata, itured,ed, I haveed, Copal Par, in the early, Coppoled, Coppa, I’s, thesisum, these, Coppoly, thes.In thisium,The Purid: The Phrings, thepidings,The Phromino, In thePara,Investum,In thep,irdumed,irdumedumina,erdThe Conclusion,irdyment,simented,irdyment, The P.irdumension,Conversation,irdyment,irdymention,irdingedas,irdlyention,reedingerine,irdasition,irdolderereadas
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What kind of actually subversive works are getting ignored in this societal status quo? For one, there’s the new documentary Union. This Sundance 2024 title begins its theatrical run in late October. Here is an actually transgressive production taking a massive corporation (Amazon) to task for not properly compensating workers financially. It’s a project about worker’s rights, the importance of unionization, and the upsetting of the status quo. No indie studio apparently dared to approach the documentary for distribution. Major artists haven’t been banging the drum for the feature on social media. Folks like Aaron Sorkin have been too busy firing their agents for calling the genocide against Palestinians a genocide.
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As a gamer speaking for myself, I disagree with Coppola’s viewpoint that employing actors like Jon Voight or those accused of repeated domestic abuse is somehow revolutionary or subversive. Frankly, it’s just following the same old pattern we’ve seen in American cinema for years – prioritizing figures like D.W. Griffith over trailblazers like Charles Burnett. It’s not a brave middle finger to the norm; it’s just repeating history. In many ways, this idea of ‘subversive cinema’ in today’s Hollywood is merely an illusion, a mirage created by media monopolies that limit the variety of art we get to see.
In a sense, if there’96 is any comfort, it lies that remarkable works pushing against established norms have arisen even during the most trying periods of history. Notably, Derek Jarman and Marlon Riggs created profound cinematic pieces during the AIDS crisis. Incredibly, The People’s Joker managed to reach theaters in 2024, despite numerous frivolous legal obstacles. Similarly, Samuel Fuller’s White Dog, which was initially held back in the early ’80s, is now available for home viewing. The sanitized corporate version of “provocative” cinema can be hard to avoid. However, films like Sorry to Bother You and Born in Flames continue to embody authentic transgressive art and portray genuine real-world challenges and ongoing societal struggles of the struggles.
Permit me to end this list not with a final rebuke towards Coppola. Instead, I want to impart a list of great provocative films reflecting cinema’s exciting capacity to challenge the status quo. An endless deluge of wealthy cis-het people currently declare that “cancel culture” is the greatest concern of our time. The movies below confront and challenge actual issues playing real-world people. They do so with endlessly vibrant and imaginative filmmaking. Comments like the ones made in that recent Coppola interview make me feel frustrated with the world. The movies listed below remind me why I love motion pictures so much. Give them a watch and discover what actually subversive cinema looks like.
Working Girls (1984) – dir. Lizzie Borden
The People’s Joker (2024) – dir. Vera Drew
Sorry to Bother You (2018) – dir. Boots Riley
Mutliple Maniacs (1970) – dir. John Waters
Never Rarely Sometimes Always (2020) – dir. Eliza Hittman
Kokomo City (2023) – dir. D. Smith
White Dog (1982)– dir. Samuel Fuller
All the Beauty and the Bloodshed (2022) – dir. Laura Poitras
Z (1969) – dir. Costa-Gavras
Crip Camp: A Disability Revolution (2020) dir. Nicole Newnham & James Lebrecht
Tongues Untied (1989) dir. Marlon Riggs
Daisies (1966) – dir. Věra Chytilová
Harakiri (1962) – dir. Masaki Kobayashi
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2024-09-03 20:15