“I believe that when you make a film it’s like asking a question,” Coppola says. “And when you finish the film you maybe know, a little bit, the answer. So this film is my asking a question about consciousness, human consciousness, how it really works, what it is.”  Coppola explores these timeless themes through his chosen art form, despite their philosophical magnitude. When Eleanor brings up the complicated nature of Youth Without Youth’s themes, he seems to take it as all the more reason to explore them.

“I think one thing the movie-making public does want is movies that do talk about interesting things,” he replies to his wife’s observation. “What is the nature of time? What is the nature of consciousness itself? You know, that’s interesting.”

He says much of this while lounging on what appears to be a hotel bed. Sometimes he’s lying down, and we see a bird’s eye view of him. At times he props himself up and faces the camera. The effect is, again, one of extreme candidness. He’s not in some fancy studio, dressed up and ready to dazzle. He’s hanging out, thinking and talking about what excites him. And his enthusiasm can’t help but leak out and onto the audience. How often do you see a 68-year-old man this jazzed about anything?

Coppola is definitely charming, as is his wife. Together they are amazing. At one point in CODA, Eleanor is addresing the camera. Francis sneaks up behind her and begins to gesture and make faces. When she finally catches on, he darts up and kisses her on the neck before scampering off.

Whether or not you are familiar with Coppola’s work, Hearts of Darkness: A Filmmaker’s Apocalypse is a fascinating look at the dedication of a respected director. It is also an inspiring look at two people who have not lost their joie de vivre and genuine fascination with the wonders of life.