𝕎𝕚𝕝𝕝𝕖𝕞 (𝕃𝕖𝕠) 𝕧𝕒𝕟 𝕕𝕖𝕣 ℤ𝕒𝕟𝕕𝕖𝕟’s review published on Letterboxd:
Leos Carax' usual knack for tortured love is found all throughout this, and the opening minutes hint at the kind of self-aware dissection of art that made Holy Motors so great, but, despite the grand, operatic nature of it all it never fulfills its promise and ends up being a rather simple, open-ended tale of the toxic, manipulative nature that sometimes surrounds art. Perhaps that is Annette's greatest crime in the end: posing a lot of interesting questions, throwing up lots of innovative ideas, but never making anything worthwhile from it.