Annette 2021
IMDb Ratings: 6.5/10
Genres: Drama, Musical
Language: Hindi(Unofficial VO) + English(ORG)
Release Year: 2021
Director: Leos Carax
Stars Cast: Adam Driver, Marion Cotillard, Simon Helberg
Director: Leos Carax
Stars Cast: Adam Driver, Marion Cotillard, Simon Helberg
Annette Screenshots
Annette Review
Greetings again in the dark. Expecting to see a film directed by Leos Carax (HOLY MOTORS, 2012), and written and scanned by Ron Mael and Russell Mael of Sparks fame, based on unexpected expectations ... hearing something we had never seen before in a movie. And while the film may divide - be loved by others, dismissed by others, confuse everyone - ingenuity, ingenuity, and risk is a must-see. About the consistency of the news? Yet that is a very different topic.
Six weeks ago I watched and reviewed Edgar Wright's excellent documentary THE SPARKS BROTHERS, in which Ron and Russell discussed their relationship and their vision for movies, despite a few shortcomings over the years. This important one was named as a rock opera album, and it is possible that few directors would try to switch to the big screen. It can be just as challenging as opera, theater, or stage music. In simple terms, this is a musical-drama-romance; but in reality, it is strangely difficult to explain or explain.
The opening sequence begins at the recording studio with director Carax on the sound board as the Sparks band performs "So Can We Start?" Soon they will march through the streets of Santa Monica, participating in the singing of the main characters of the film that we will be watching. The narrator tells us, "Breathing will not be tolerated", which takes strange contact during an epidemic.
Adam Driver plays Henry, an offbeat comedian, and Oscar-winning Marion Cotillard as Ann, a famous opera singer. Henry has dubbed himself the 'Monkey of God' and has committed a vicious joke with his audience. He evaluates each function by striking a shadowy fist on a garment while inhaling a cigar. Ann is often portrayed alone on stage (Catherine Trottman sings parts of the opera, while Ms. Cotillard sings the rest). The couple are engaged to be married when we open, and later they get married, have a child (titular Annette), and take different paths in their career. Henry and Ann are argumentative people and that is best illustrated by the way they end their show: he 'taps' his audience, while he bows with gratitude.
Henry is a man full of love, but he has no idea how to love. He is a tortured soul - the kind who does not believe he deserves the life he has and finds a way to destroy himself. Henry and Ann are passionate lovers and their collection "We Are Very In Love" has an unusual moment you can see in music; in fact, crowds of music (with repetitive vocals) often appear at random (or at least unexpected) moments. The skills of Ms. Cotillard is not fully utilized, while the bulk of the film weight is borne by Mr. Driver.
After the tragedy, the story becomes more bizarre about Henry and "Baby Annette". To say more can ruin what should always be surprising. Simon Helberg’s role as a conductor grows in the second half, and the past tense of his character and Ann presents the complexity of the relationship. This is a dark love story, and bizarre to the end. Director Carax and the Mael brothers may slide into the corner of the Avant-garde, but that may scare the viewers even more, so let's use 'amazing' instead. Sometimes it tries hard to shock or stir, and the stories are contradictory, but all for a good reason: resentment. The film, presented to Carax's daughter Nastya (from the opening sequence), sometimes feels like a nightmare that you (especially) don't want to end. And that’s about everything that has to be said to keep the experience alive.
Six weeks ago I watched and reviewed Edgar Wright's excellent documentary THE SPARKS BROTHERS, in which Ron and Russell discussed their relationship and their vision for movies, despite a few shortcomings over the years. This important one was named as a rock opera album, and it is possible that few directors would try to switch to the big screen. It can be just as challenging as opera, theater, or stage music. In simple terms, this is a musical-drama-romance; but in reality, it is strangely difficult to explain or explain.
The opening sequence begins at the recording studio with director Carax on the sound board as the Sparks band performs "So Can We Start?" Soon they will march through the streets of Santa Monica, participating in the singing of the main characters of the film that we will be watching. The narrator tells us, "Breathing will not be tolerated", which takes strange contact during an epidemic.
Adam Driver plays Henry, an offbeat comedian, and Oscar-winning Marion Cotillard as Ann, a famous opera singer. Henry has dubbed himself the 'Monkey of God' and has committed a vicious joke with his audience. He evaluates each function by striking a shadowy fist on a garment while inhaling a cigar. Ann is often portrayed alone on stage (Catherine Trottman sings parts of the opera, while Ms. Cotillard sings the rest). The couple are engaged to be married when we open, and later they get married, have a child (titular Annette), and take different paths in their career. Henry and Ann are argumentative people and that is best illustrated by the way they end their show: he 'taps' his audience, while he bows with gratitude.
Henry is a man full of love, but he has no idea how to love. He is a tortured soul - the kind who does not believe he deserves the life he has and finds a way to destroy himself. Henry and Ann are passionate lovers and their collection "We Are Very In Love" has an unusual moment you can see in music; in fact, crowds of music (with repetitive vocals) often appear at random (or at least unexpected) moments. The skills of Ms. Cotillard is not fully utilized, while the bulk of the film weight is borne by Mr. Driver.
After the tragedy, the story becomes more bizarre about Henry and "Baby Annette". To say more can ruin what should always be surprising. Simon Helberg’s role as a conductor grows in the second half, and the past tense of his character and Ann presents the complexity of the relationship. This is a dark love story, and bizarre to the end. Director Carax and the Mael brothers may slide into the corner of the Avant-garde, but that may scare the viewers even more, so let's use 'amazing' instead. Sometimes it tries hard to shock or stir, and the stories are contradictory, but all for a good reason: resentment. The film, presented to Carax's daughter Nastya (from the opening sequence), sometimes feels like a nightmare that you (especially) don't want to end. And that’s about everything that has to be said to keep the experience alive.
