Edgar Cochran ✝️’s review published on Letterboxd:
An auteuristic statement at the end of the day, honestly and profoundly. Grandiose non-formalist disaster acted like a midnight Cinemax film of the early 2000s restrained by its own postmodernist ambition and yet tragically misunderstood by its bold cascade of utopian philosophies. My beloved fiancée correctly and eloquently spotted out the correct interpretation of the Purgatory by Coppola represented by monuments of stone while we were at the theater; time indeed spares no one and its theoretical control to stop it does not nullify its irreversibility.
Initially sold to me as a filmmaking manifesto as relevant as Chazelle’s Babylon (2022), the seamless storytelling cacophony will disturb the conventionalist expectations even of those that could admire 2000s Coppola, including the fabulous Twixt (2011). Commercial trailers sold it as an epic, whereas its concoction simulates an inverted version of Fellini’s Casanova (1976): the arc proposes the possibility of a mind submerged in the physical and substance addictions of the world to recreate a more ideal recreation of the same, a Biblical anti-Great-Flood where the irony of it all is that the foundations of the aforementioned are still condemned to remain within human creativity.
Courageous moviemaking like this are not meant to be a disaster; however, as the non-axiomatic capitalist seed keeps flourishing in the heart of the industry, the opportunity for directors to reflect their own vision unapologetically and confidently will remain outside of studios looking to elevate the artform beyond a money-making machinery.
Now, if you excuse me, I have to revert T-symmetry to unwatch this film and go back to the 🗣⬅️➡️⬅️➡️cluuuub⬅️➡️⬅️➡️🗣👉.
78/100
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