Francis Ford Coppola's post-2007 comeback is vexing, bewildering, esoteric and, to these eyes, his most exciting work since the 1970s. Funding his own projects with wine money, Coppola has used digital not only as a means of keeping shooting costs down but to explore new forms of cinematic grammar and assembly. The most classical of New Hollywood has emerged its most postmodern. I delve into this aspect of Coppola's rejuvenation for Film.com, from his masterpiece Youth Without Youth to the uneven but unexpectedly personal Twixt. Form and content may not converge like they did during the '70s (but then, did they ever for the director after that gold run), but I would sooner watch these experimental works than the bulk of the director's corpus.
Check out my full piece at Film.com.