Joseph Vosti’s review published on Letterboxd:
Leos Carax's maximalism and unique imagery take overfamiliar stories about artists, celebrity culture, and the commercialization of art and constantly make them feel fresh, exciting. Probably my favorite movie theater going experience so far this year: (1. Annette 2. Pig 3. Nomadland??)
Don't want to ruin the many distinct pleasures it has to offer by trying to further delve into what it's all about, so I'll just jot down some memorable moments/questions I have for potential future viewings:
What does Annette say at the Superbowl halftime show after refusing to sing?: "Daddy, ..."?
So why do people become comedians? And the scathing depiction of the audience. We're constantly demanding more from our artists, but we're fickle and get angry when they disappoint us or don't give us what we want.
Lovers's hands delicately parting. The glorious sex scene. The glorious birth scene.
Mundanity and repetition of lyrics, which depending on context, can feel like intense expressions of sincere emotion, or amusing jabs at the artificiality of clever lyrics, or even the futility of spoken language to communicate (as opposed to behavior, visuals)
This idea of women dying, of sacrificing themselves at the altar of Art, or for the men they love, as a common narrative, going all the way back to Snow White and Adam and Eve. 🍎