Projected on opening of the Cannes Film Festival 2021, the musical interpreted by Marion Cotillard and Adam Driver, on a soundtrack of Sparks, is the most bristling film of the filmmaker.
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On the poster, any spark. Marion Cotillard. Adam Driver. Sparks. A musical. The opening of the Cannes Film Festival … Stars light up in the eyes. Calms you. The disturbing strangeness of the fantastic tale Sied better in Leos Carax than the comfort of wonderful universes. Annette is largely the most black film, the most bad, the most bristling by its author. The most amazing and inventive, too, with the previous Holy Motors (2012), which it moves away.
On an idea and a composition of the Glam Rock Sparks group – Californian musical phoenix -, the movie sings, but sideres rather than it does not exchanging. Two characters occupy the front of the scene. Henry Mchenry (Adam Driver), stand-upor who likes to play with the limits, and Ann (Marion Cotillard), a reputable cantaker, form a couple scrutinized by the mundane column. While annoyed from their daughter, Annette, something breaks at Henry who makes them capsize. Could it be that it has, by a dark night of storm on their boat, killed its own woman?
It is in this awful doubt that the Father pushes his little girl, a strange child, as come from elsewhere, who inherited the stamp of his mother, to perform successfully at the four corners of the planet. Child phenomenon, puppet child, Annette is a lifeless girl waiting to reborn in the world, to evade the homicide love of her father. What justifies that one murder a person who loves you? And what inexplanable yoke is charging the child who will keep the witness?
Duality and Repetition
Black Romanticism of Carax. On the psalmodic rock and dissonating sparks, love and death dance here collé-tight. It’s diving in a constant night, constellated with flashes and sunlights. The motorcycle that splits darkness like the arrow of destiny. This dark green that dominates, as a call of the deep forest or furious waves. This idea that true life is elsewhere, in this fusional call of nature and death supposed to reveal an perfection that does not exist here below.
The tower more and more baroque that the work of Carax takes accuses in this film, where everything seems subject to duality and repetition. The Angelic Woman and the Witch. Pantin and the Human. The punchlines of the songs. Life and death. And, of course, for this couple of artists, the imagination and the reality, here connected by a constant porosity, disturbing. Incredibly inspired film, which exposes us without remissioning with the evil that poisons the heart of man even in love supposed to edit it.