DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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Megapocalypse now
RITA DI SANTO assesses the political reaction to Francis Coppola’s epic, self-funded depiction of the decline of the US empire
DREAMLIKE: a still from Francis Coppola's psychedelic depiction of the decline of the US empire
[IMDb]
STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
Megapolis
Directed by Francis Ford Coppola
AFTER a long period of artistic silence, at the age of 85, Francis Ford Coppola, the director of The Godfather and Apocalypse Now, is back at the Cannes Festival with a huge work, Megalopolis, a film self-funded to the tune of $120 million, that talks about philosophy, architecture, physics, love, power and politics.
Set in a futuristic city called The City of New Rome is a story keenly relevant to the politics of today. A narrative voice at the beginning of the movie tells that “All empires are destined to collapse,” and New Rome shows all the signs of an empire that is doomed.
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