Jacques Audiard, Sean Baker, Brady Corbet, Coralie Fargeat, and James Mangold.

I'm reading the list of movie directors nominated for an Academy Award — the nominations were announced a few minutes ago — and I don't recognize any of the names.

I even care about one of the movies — the one about Bob Dylan — though I haven't gone out to see it, not yet at least. But I have to recognize that I don't care about present-day movie directors. They're not these giants of the culture like they were in past decades, not to me anyway. I cared when David Lynch died, and I never even particularly liked his movies. But he was an important cultural figure, and I felt interested and reverent about that. Maybe it's me, and I'm getting not just old but very old. 

What do you think? Have we lost something? Is there any way back? Or should we not even want to go back — back to that era of giants. I know Francis Ford Coppola had a movie this year. He's one of the giants, one of the names that used to come up time and again in the nomination lists. But he's not there this year, nor was he expected. Nobody liked his magnum opus. Hollywood is not growing giants anymore, and it has no use for magna opera.

"Coppola has been unable to find a studio buyer for the movie and it’s clear why: 'Megalopolis' is likely to confuse and divide mainstream audiences."

"No two actors in this movie are on the same page about how to perform it, and the result is a mishmash of acting styles and big, misbegotten choices that had some journalists at the festival giggling in disbelief. The dialogue is either bluntly declarative or totally impenetrable, and Coppola often interrupts the action with shots of featured extras so prolonged that you can tell with certainty that you’re looking at one of the filmmaker’s relatives."

From "Francis Ford Coppola’s 'Megalopolis': What to Know After its premiere at the Cannes Film Festival, we can answer your many questions, though some details still puzzle us" (NYT).

ADDED: From "Megalopolis Is a Work of Absolute Madness" (NY Magazine):

There is nothing in Megalopolis that feels like something out of a “normal” movie. It has its own logic and cadence and vernacular. The characters speak in archaic phrases and words, mixing shards of Shakespeare, Ovid, and at one point straight-up Latin. Some characters speak in rhyme, others just in high-minded prose that feels like maybe it should be in verse. At one point, Adam Driver does the entire “To be or not to be” soliloquy from Hamlet. Why? I’m not exactly sure. But it sure sounds good....

Watch out for mainstream disaffection based on the fact that this movie contains traces of Ayn Rand:

"Grief reigns in the kingdom of loss. I refer to not only the loss of a loved one but also the loss of a hope, a dream, or love itself."

"It seems we don’t finish grieving, but merely finish for now; we process it in layers. One day (not today) I’m going to write a short story about a vending machine that serves up Just the Right Amount of Grief. You know, the perfect amount that you can handle in a moment to move yourself along, but not so much that you’ll be caught in an undertow."

That's item #13 on "MONICA LEWINSKY: 25 'RANDOMS' ON THE 25TH ANNIVERSARY OF THE BILL CLINTON CALAMITY/My name became public 25 years ago this week. What have I observed and learned in the quarter century since? Oh, plenty" (Vanity Fair).

Okay, let me try to write 25 "Randoms" on the text printed above:

"In the world in which QAnon believers live, Trump’s detractors, such as Republican Sen. John McCain of Arizona and Hillary Clinton aide Huma Abedin, wear ankle monitors that track their whereabouts."

"Press reports are dismissed as 'Operation Mockingbird,' the name given to the alleged midcentury infiltration of the American media by the CIA. The Illuminati looms large in QAnon, as do the Rothschilds, a wealthy Jewish family vilified by the conspiracy theorists as the leaders of a satanic cult. Among the world leaders wise to satanic influences, the theory holds, is Russian President Vladimir Putin. QAnon flirts with eschatology, fascist philosophy and the filmmaking of Francis Ford Coppola. Adherents believe a 'Great Awakening' will precede the final storm foretold by Trump. Once they make sense of the information drip-fed to them by 'Q,' they will usher in a Christian revival presaging total victory. The implication is that resolving the clues left by 'Q' would not just explain Trump’s planned countercoup. It would also explain the whole universe.... Some big names have bought into the fantasy. Roseanne Barr, the disgraced star of the canceled ABC revival that bore her name, has posted messages on Twitter that appear to endorse the QAnon worldview, fixating on child sex abuse...."

"‘We are Q’: A deranged conspiracy cult leaps from the Internet to the crowd at Trump’s ‘MAGA’ tour" (WaPo).

"THX 1138."

George Lucas's first film, "THX 1138," is about to come out as a "director's cut" DVD. You can pre-order it on Amazon and get "at no additional cost--a collectible aluminum replica of the THX 1138 ear tag featured on the DVD packaging art (while supplies last)." Good thing it's collectible, because I wouldn't want an aluminum replica of an ear tag that somehow stood in the way of my collecting it. And what does it even mean to collect a single item? If there's only one, isn't it just ... keepable? A keepsake? And what is the charm of an ear tag anyway? I'd like to run across someone actually wearing a THX 1138 ear tag, just to test the image I have in my head of the kind of guy who would wear a THX 1138 ear tag. I'll just leave it at that. I won't be buying this DVD, even with the added incentive of the ear tag, because I've seen this movie. I saw it when it came out in 1971, and I consider that a bit of a distinction, because it was a pretty obscure movie. The name George Lucas meant nothing then. Francis Ford Coppola produced this movie, but it was still a year before "The Godfather." Back in those days we had a bit of a thing for "You're a Big Boy Now," the 1966 Francis Ford Coppola movie, but I doubt if that was the draw. As nearly as I can remember, we just liked science fiction movies. "2001: A Space Odyssey," "The Green Slime"--whatever. And "THX 1138" was "supposed to be good," which was enough. I saw this movie at a drive-in that summer (the same summer when I saw Alice Cooper in concert--or thereabouts). I was stranded in southern New Jersey. You know how you feel when you've gone away to college and then you come back in the summer and live with your parents? But it was worse because my parents moved right after I graduated from high school. So instead of going back to Wayne, New Jersey, where I knew people and could easily get to New York City, I had to go to Blackwood, New Jersey, a desolate place--literally "The Pine Barrens" (that is not just the name of an episode of "The Sopranos"). It was really dull and depressing, somewhere along the White Horse Pike, midway between Philadelphia and Atlantic City (pre-gambling Atlantic City). The closest thing to anything to do there was to play pinball in a bowling alley. I've only been punched in the face once in my life, and it was in the parking lot of that bowling alley. I made fun of the words to "Born to Run" yesterday, but "a death trap ... a suicide rap" is about how it felt. People think of those early Bruce Springsteen songs as being about New Jersey, but they are about southern New Jersey, and it really was an awful place to be in the early 1970s. People in New York who laugh at New Jersey are talking about northern New Jersey. Southern New Jersey is a big step down. But we did have a drive-in, and they were playing "THX 1138." I remember that the set was blank white, but not in the happy "Isaac Mizrahi Show" way, in the extreme sensory deprivation way. And--if I remember correctly--everyone was dressed in white, had shaved heads, and spoke in a flat, lifeless way. I was already living in southern New Jersey and that was already more sensory deprivation than I could take. Normally, I loved bleak cinema: we saw every Ingmar Bergman double feature that played at Cinema Guild during the school year back in Ann Arbor, and, believe me, Cinema Guild showed a lot of Bergman double features. But that summer, in that place, in a drive-in, "THX 1138" was profoundly, profoundly boring. So I will not be competing with all you ear tag collectors and George Lucas fans. In my alphabetized DVD bookcase, "Three Kings" and "To Kill a Mockingbird" will for now remain side-by-side. UPDATE: Chris points out that "THX 1138" is getting a theatrical release too.

Insight into the mind of Amazon.

Amazon emailed me this:

Greetings from Amazon.com Alerts.

As you requested, we're notifying you of new releases matching the
following criteria:

DVD and Video with "Cary Grant" in the Actor's name. ...

Dracula

Publication date: July 20, 2004 ...

We hope you enjoyed receiving this message.

Well, first, I did enjoy receiving this message. It was quite amusing, in fact. Cary Grant was in Dracula? I click on the "more info" link and see it's that 1992 Francis Ford Coppola version of Dracula — the one with Gary Oldman as Dracula. Winona Ryder is in it. I saw that movie, and even if I hadn't, I'd be damn skeptical that Cary Grant was in it. I click on the link to see the full cast of the movie. I search the page for "Grant" and then "Cary" and find the actors Richard E. Grant and actor Cary Elwes. Amazon isn't quite as smart as we might think.