Annette 4K 2021 2160p AMZN WEB-DL

The action will take place in Los Angeles. In the story, Henry works as a stand-up comedian, and his wife, Anne, is a singer. They are the perfect couple, accustomed to sparkling in the spotlight and leading a glamorous lifestyle. But everything changes after the birth of their first child, Annette, a mysterious girl who is destined for an unusual fate.

Annette 4K Review
So May We Start? (that is: can we start?) - either the energetic and not aging musicians of the Sparks group, the brothers Ron and Russell Mail, are asking or arguing. The director Leos Carax is watching them through the glass, another chord, another breath, and Adam Driver and Marion Cotillard will come out from around the corner - still artists, but at the end of the scene - characters. The singing crowd will go out the door of the recording studio in a whirlwind of festive procession, voices will fill the streets, and the melody will become recognizable - it is already doomed to be remembered and accompany the audience for several days, or even months after leaving the hall. The interrogative intonation gives way to a declaration - the curtain is open, the show begins. A couple of weeks ago, not only did Annette breathe life into the screen, but the Cannes Film Festival was revived - the first after a year's hiatus. Only this burlesque, polished staging and splendor of the moment is a big little lie, a mirage of vain expectations: there are more than two hours ahead of a sad, dull and tragic story of painful love.

Relations under the spotlight leave no room for associations - welcome to La La Land! Here once a court jester, he is also a stand-up comedian with a vague characterization of the funny and peculiar ideas about the healing power of fun (his jokes are ruined) Henry McHenry (Driver) met the princess-mermaid-opera singer Anne (Cotillard), whose vocals, of course, are salutary for listeners. They loved each other so much and sang about it so heartfelt (We Love Each Other So Much) that they had a daughter - a wooden girl Annette. And if anyone, not Leos Carax, was the director, the audience could drown in the beauty of sentimentality, artistic steps and melodic couplets, but to drown in Annette is the fate of a little mermaid.

The emasculated convention of the genre and the angular allusions (or perhaps far-fetched) to the fairy-tale characters in no way mask or soften the blow from the upcoming picture, which, contrary to expectations, is more straightforward than metaphorical. The alliance of people of art, and so different - we will use the accepted (though accepted by whom?) Categories: high and low, opera and comedy - guarantees not harmony, but the rapid elimination of a deep feeling. Someone else's success hurts much more than your own failure, and you can't hide the burning pricks of jealousy and mental imbalance behind the song of Sparks.

Like all the previous films of Karax, this one, which the world has been waiting for from the director for 9 years, is the same personal and intimate rebuke, sermon, confession and now also the revived nightmare of a lonely father. Despite the sympathy that Leos invariably has for his, to put it mildly, ambiguous heroes, it is difficult to believe that this time the distance between him and the character was reduced to a reflection in the mirror, even if the recognizable strokes of the biography bleed from the screen. Like Henry McHenry, Karax remained a widower with a child in his arms (even if he was not married to his heart's companion Katerina Golubeva) - there is a daughter in the opening scene. Another seemingly casual and careless entry into the territory of meta-dimensions: "Nastya, are you ready?" Dad is about to tell a sad tale.

True, with all the rolls, it is not only unfair to ascribe the authorship to Karaks alone, but it is simply wrong - the script, like the songs, belongs to the Sparks group. To some, this union will seem as disharmonious as the marriage of Henry and Anna: in the same bed a poet and poetry of different hands. "Annette" is destined to hear polarizing speeches in its address: this film can stifle, annoy, outrage with its measured slowness and, in the end, hopeless gloom, not inherent in musicals. But, probably, it is in these roughnesses and the truly frightening abyss in the soul of one joker that the invincible cinematic power lies.

Perhaps it takes real courage to look at the world through the eyes of an abuser through the prism of cinema. The joker McHenry is a deeply unhappy man, trapped in the muscular body of Adam Driver (who opened another facet of virtuosity in this artist's death) and broken from within. The abyss called, the abyss whispered and pulled him with it. The way slowly and consistently the decomposition of the beloved into violent atoms spreads across the screen, and even to the accompaniment of continuous music, not only truly frightens, but gradually increases the aching pain in the heart.

Carax does not forget that the performance must continue: the viewer seems to forcibly become not only a witness, but also an accomplice of the events - now everyone applauds Henry's not too refined witticisms, and tomorrow they will shout “not funny”. The windy temper of fame is known, but here it literally seems to be in our hands, as well as the perception of the picture and some determination required for viewing. The puppet Annette uses wooden legs not to please or to amuse the feeling of beauty (even though Karax has a weakness for circus exercises like card tricks) - she rather repels and alarms with the love with which Anna looks at the doll. But the thought of what the girl will have to go through in order to become a man will wander in my head for a long time after watching the film, which is doomed to leave the hall with the viewer and periodically whisper the language of the abyss from somewhere out of the sleeve.