At Cannes, where it premiered in May, Megalopolis managed to be the single most divisive film of the festival; love it or hate it, Coppola’s huge swing for the philosophical fences is a truly singular work — and is exactly the movie that he wanted to make. (It’s set to hit theaters on Sept. 27.) That Coppola somehow managed in his eighties to will this long-gestating pet project into being and self-finance it against his winery for $120 million is borderline unbelievable, even given his legacy as someone willing to bet a fortune and/or a film studio to follow a dream. “I have everything to lose here,” he says, referring to this portrait of the decline, fall, and Phoenix-like rise of a civilization. “And, in a way, I have nothing left to lose anymore.”