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@michaels_movie_bay
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A brash comedian and an angelic opera singer experience marital bliss and woe as they attempt to navigate the cutthroat world of showbiz.
This film is unclassifiable, bending genre and tone from one scene to the next. Annette is a musical psychological drama—an unlikely mashup of genres—and it is not as much enjoyed as experienced. And though it is a musical, it is certainly not a traditional one. A majority of the story is sung-through, and the songs—written by synth-pop duo Sparks—nod to the dissonant and operatic stylings of Stephen Sondheim and Andrew Lloyd Weber.
In its own bizarre way, Annette tackles some weighty issues. Jealousy, fame, child-rearing, exploitation, abuse, and a me-too subplot are all addressed like I have never seen before. Annette is weird, unsettling, disturbing, and likely inaccessible to many viewers because of both its relentlessly odd approach to the narrative and songs that candidly do not please the ears.
Adam Driver continues to be one of the most diverse and impressive modern performers and his weird turn as Henry McHenry in this film confirms his versatility. However, I am not convinced he should ever attempt a musical again. Marion Cotillard continues to shine and her voice is well suited to this particular rock opera. Simon Helberg is also effective in his role. The performances are all hyper-exaggerated and over the top, intentional choices to highlight the themes each character represents.
Annette is certainly not a movie for everyone, but it is masterfully directed, with phenomenal camerawork and long takes that highlight the talent of everyone involved. It is brimming with symbolism and subtext with absolutely no sense of subtlety. This film stuck with me, haunting me, forcing me to reckon with its weird scenes and concepts. Check this one out if you are in the mood for a very unconventional cinematic experience.
Hot take: I never want to watch this movie again, but I cannot stop thinking about it.
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