Annette ★★★

Worth the price of admission purely for this great moment in history recreated by Adam driver as written by Sparks.

Much more iterative on Holy Motors that one would expect, in that in Annette Carax actually makes the budget-constrained trifle that he purported his previous film to be. Carax is still grappling with the void left by the death of his partner and the resulting single fatherhood, evident from the moment the audience meets Marion Cotillard's Ann sporting the same haircut and wardrobe as Kylie Minogue's Eva.

The film's first third is most certainly successful, roving into completely uncharted territory, moving from Bulworth-adjecent standup routines to true eroticism and intimacy in a matter of moments.

However, its main narrative thrust of the father-daughter conflict loses its power in its obvious authorial insertion, so thinly veiled that when Driver's Henry is hunched over the console the same as Carax in the film's opening moments, one can't help but roll their eyes. Its conclusions are self-pitying, it's final Pinnochio moment seeing paternal love as zero-sum, seeking absolution through self-imposed isolation.

Most certainly the work of a genius reaching toward something great, even when it loses its way.


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