Not Ignatiy Vishnevetsky’s review published on Letterboxd :
Jean-Pierre Meville lived and slept on his movie sets and Wes Anderson slowly evolved into one of his own characters, but neither had an escapism as obsessive as Jacques Demy's. Every film he made, whether it had singing in it or not, was essentially a musical; he could make the sad streets of Nantes into an MGM back lot. This sequel to Demy's first feature, LOLA, was the only film he actually made in Hollywood; along with his other English-language film, the Japanese-financed Manga adaptation LADY OSCAR, it's one of his most rarely seen. Anouk Aimée, now in color, has made the transition from cabaret "dancer" to the equally dubious "model," and from the gray French seaside to the busy sprawl of Los Angeles. Doc Films' screening presents a rare opportunity to see a film most cinephiles are only familiar with via the clips used in Thom Andersen's LOS ANGELES PLAYS ITSELF.