Tema: Megalopolis (Francis Ford Coppola, 2024)

Iniciado por PrimeCallahan

Los habituales estan preparando los cuchillos para destrozarla, normal, el grupillo de infectos bloggers, como ya dije, se estan preparando.

Me huelo ya los habituales hit-pieces para despotricar y tirar mierda a Coppola.

Ay como gane la Palma de Oro y Lucas se la entregue... AY.

Sería bonito que hiciesen por premiarle como último homenaje y reconocimiento. Pero últimamente hemos podido comprobar que a los que dan los premios no se les ablanda el corazón lo más mínimo a la hora de ignorar a viejas leyendas, ahí están como prueba el desprecio a Scorsese en los últimos oscars o Erice en los Goya.

There may be certain messages in the movie that would "alienate" American audiences, hence the distribution issues in the U.S. I was an extra for the movie and there were certain political things that may be controversial, especially because of the antagonist.



Interesante...

Iniciado por riobravo59

Sería bonito que hiciesen por premiarle como último homenaje y reconocimiento. Pero últimamente hemos podido comprobar que a los que dan los premios no se les ablanda el corazón lo más mínimo a la hora de ignorar a viejas leyendas, ahí están como prueba el desprecio a Scorsese en los últimos oscars o Erice en los Goya.

Digo yo que habrá que premiarle si la película así lo merece, y no por homenaje.

Por supuesto, pero me da la sensación que a estos directores ya se les ignora en favor de películas más "a la moda". El Irlandés o Cerrar los Ojos me parecen muy superiores a las películas premiadas al Oscar y al Goya respectivamente.

Iniciado por riobravo59

Por supuesto, pero me da la sensación que a estos directores ya se les ignora en favor de películas más "a la moda". El Irlandés o Cerrar los Ojos me parecen muy superiores a las películas premiadas al Oscar y al Goya respectivamente.

Completamente de acuerdo.

De Variety.


Can Cannes Save ‘Megalopolis’? Francis Ford Coppola Prepares to Unveil His $120 Million Epic as Controversy Builds

Cito extractos:


Will Cannes turn out to be a redemption tour for Coppola, who has been able to defy the skeptics in the past, or is “Megalopolis” going to be a late-career disaster for an artist who has also produced his share of costly duds along with his masterpieces?

If nothing else, the Guardian story has made the prospect of selling the film to a distributor even more challenging. “It’s a very difficult movie from a marketing perspective,” said one source who has seen the film and thinks it is very impressive. Other more adventurous industry players said there is a way to eventize this marketing conundrum and bill the film as undefinable. After the Los Angeles screening, one attendee said he thought the film was “actively fucking with a risk-averse industry. This is Coppola tearing down the modern temple of Hollywood.”

Initially, Coppola was determined to sell the film himself and forgo working with a sales agent. And after recently firing CAA, he also has been working without a personal agent, sources say. But following the disappointing screening that drew most of the major studio heads, a group that typically doesn’t acquire big-budget movies, Coppola began working with international sales outfit Goodfellas. Ahead of the festival and on the ground in Cannes, Goodfellas has sold the film in multiple foreign territories, including France. Notably, these individual territories do not have rights to paid video-on-demand or streaming options for “Megalopolis,” perhaps by design to lure a big streaming service who could prop the movie up for global subscribers after a theatrical rollout.



Sources say Coppola is looking for a distributor that will release “Megalopolis” in the fourth quarter of 2024, where it will mount an awards-season campaign. A24 or another awards-savvy distributor are seen as ideal fits. But some potential indie outfits have seen the film and don’t feel like there’s much upside — they don’t believe the movie has much Oscars potential beyond technical categories and they fear that Coppola will be an overly demanding partner. If the price for domestic rights drops, however, or Coppola, who put up his own money to make the film, is more interested in a domestic distributor for hire, then “Megalopolis” may become more attractive.


Another buyer also said the negative press following the screening for studio heads coupled with the Guardian piece may even help “Megalopolis” find a home.

“The way that it’s been set up is they had a bozo screening for all the people who really don’t buy movies. They wouldn’t know a Bertolucci movie if it hit them in the butt,” said that buyer. “Now that they’re here, it’s an underdog movie. And everyone is kind of pulling for it.”

Cannes, with its audience of cinephiles, may provide a warmer reception for “Megalopolis” than the one that greeted it at the earlier industry screening. However, Coppola faces another test on Friday at a Cannes press conference, where he will almost certainly be grilled about the Guardian story. How he responds could affect the film’s fate with U.S. distributors.

In the case of “Apocalypse Now,” Coppola ended up having the last laugh. Though some critics were initially dismissive, estimations of the film have only grown over the years and it is now considered to be one of the greatest movies ever made. But even in 1979, Cannes seemed to recognize Coppola’s film for the masterwork that it is — “Apocalypse Now” went on to share the Palme d’Or with “The Tin Drum.” Perhaps “Megalopolis” will have a similarly happy ending.






Oscars. El hijo de su madre quiere intentar ir a por más Oscars... que huevos tienes, Francis.