A virtuosic rock opera that comes the closest to reaching the lunatic glory of Ken Russell’s accomplishments. The infrequent output of director Leos Carax makes every release of his an event and here is no exception, as he creates such singular film experiences with such emotional highs and density of flashy images (the musical rendezvous featuring Kylie Minogue from Holy Motors feels like a dry run for what Carax achieves here). Overwhelming bombastic, the film operates on pure sensory overload; which goes a long way to offset the trite commentary on celebrity gossip and cancel culture. Marion Cottilard and Adam Driver make a beguiling couple and are immediately compelling; allowing the film to explore gender roles, power dynamics, and toxic male rage from a fresh angle. Although I would’ve loved to have seen more development of Cotillard’s character and her art when compared to Driver’s, there’s no denying the power of this startlingly audacious melodrama. A filmmaker who’s always marched to the best of his own drum, Carax delivers something deeply personal and boldly conceived.