The 74th Cannes Film Festival opened with a radical, exhilarating musical starring a captivating Adam Driver, though alternating between genius and chaos.
Ever since its premiere on the opening night of the 74th Cannes Film Festival on Tuesday, July 6th, 2021, Leos Carax’s “Annette” has sparked intense debate, sharply dividing the attending press corps in the South of France, eliciting polarized reactions and opinions, and prompting extreme statements: some hailed it as a masterpiece, while others were dismayed by what they saw as absolute chaos.
One thing is clear: the festival team made a bold choice in selecting “Annette” as the powerful and thunderous opener.
The film begins with a mesmerizing, electrifying scene that resonates even more given the current context: following the cancellation of the 2020 Cannes Film Festival due to the coronavirus outbreak, “Annette” became the first film to grace the Croisette in over two years, signaling the return of the cherished festival life – in person.
“Shall we begin?” asks director Leos Carax, kicking off “Annette” with a dazzling opening scene that serves as a stunning ‘mise en abyme’: the show is starting, and the festival life is finally back on track!
The musical narrative kicks off with an engaging scene introducing the Sparks – who composed the original music for “Annette” after previous collaborations with Leos Carax – as well as the cast: Adam Driver as Henry McHenry, a cynical comedian performing on Broadway Boulevard in Los Angeles, Marion Cotillard as Ann, a renowned vocalist enchanting audiences every night in the City of Angels, and Simon Helberg, one of Ann’s accompanists in her performances.
This opening sequence sets the stage for what’s to come: Leos Carax, himself, orchestrating an extraordinary spectacle that defies conventional storytelling norms.
From there, opinions diverge sharply, with some lauding Leos Carax’s visual brilliance and others lamenting the lack of substance in the plot, poor character development, and the absence of memorable songs (both in terms of lyrics and performance, despite the efforts of Adam Driver and Marion Cotillard, whose singing may not please all ears in this predominantly sung-through film) aside from the opening number (“So May We Start”).
The proposal is so radical that many are left divided. However, “Annette” remains an objectively intriguing cinematic work for several reasons, particularly its opening sequence.
What’s most striking about “Annette” is its boundless cinematic ambition. Bursting with creativity, the film is a testament to Carax’s imaginative vision, with each frame brimming with cinematic richness. The decision to incorporate a puppet as Annette is just one of many bold ideas driving the film forward. Additionally, the juxtaposition of Henry and Ann singing a tender love song while racing on a motorcycle adds to the film’s visual splendor.
At the heart of “Annette” is Adam Driver’s riveting performance. Carax adeptly harnesses Driver’s multifaceted talent, leveraging his physicality to deliver a magnetic performance that captivates viewers. However, this brilliance is somewhat overshadowed by the narrative’s chaotic nature.
The film also delves into contemporary themes such as toxic masculinity, the impact of the #MeToo movement on the entertainment industry, parenthood, and the darker aspects of show business.
In my view, despite its mesmerizing cinematography, “Annette” falters due to its thin plot, resulting in scenes that feel disjointed or awkward. I struggled to connect with the characters and remained emotionally detached throughout the film. While the final scene is powerful, its impact is somewhat diminished by the lack of depth in character backgrounds, preventing me from fully investing in their journey.
