The Neon Demon
Bret Easton Ellis would love this movie. I say that, knowing that will possibly define it for some in their head. I also know it will interest others, and make others roll their eyes. It's a way to describe a movie that could mean many things. Such as pretentious, violent, nihilistic/anti-humanist, misogynist, or full of shock value bullshit. I also think it's a perfect way to describe this movie. I could never say that person would be wrong about arguing those themes or feelings, but I just don't see it that way.
The Neon Demon starts with a colorful palate of what looks to be an extreme close up of an alien planet with the opening credits, and a Cliff Martinez synth-filled score occupying the room you are in. It is a strong message to the audience about what they will see over the next 117 minutes. Letting us know we are in for a story that is about the human experience, but maybe not told to us grounded in reality.
Jessie (Elle Fanning) is the first face we see, getting pictures taken, and then meeting Ruby (Jena Malone) the makeup artist. Ruby takes Jessie out, meets some friends (Abbey Lee, and Bella Heathcote), and sees a show. She is staying in a shitty LA motel, ran by a sleaze, and is feeling very uncomfortable in her new surroundings as she apparently has just gotten to the area. She gets signed by an agency, takes more photos, walks runways, but that's just the canvas the movie is being painted on.
This movie is a satire on beauty, how it is valued, and consumed by peers or society as a whole. It isn't necessarily "smart", but it doesn't need to be. It's gorgeous to look at, and that might be it's fault for viewers not as interested in Refn as I, as is with every Refn movie. It may have been so focused on conveying a message of beauty, they forgot to fill that vessel with anything except stunning visuals, and half realized ideas to most viewers. I personally got a lot from it, and think it's far away from misogyny, or anti-humanism. If you see it that way, I won't say you're wrong, because he puts himself in a position to be seen that way.
I really enjoy Refn's work, and think he is the only person making movies this way today that I've seen. I do think he is also in a vin diagram with Zack Snyder in a way. Visual genius, but struggles to present what he wants to say without spelling it out slowly, or only to himself. Now, where they differ is what their visual style is. Snyder wants to beat you up, and throw everything at you, for rarely better or mostly worse. Refn slowly builds this colorful Disney castle of sound and images, then burns it down with blood and violence.
This is Refn's tenth film, and he's going farther and farther towards colors, alien-esqe scenery, and dialogue only for the sake of needing people to speak at some point so not to push away even his most ardent defenders. He feels like he would be more comfortable making films with no speaking, only music (he has, it's called Valhalla Rising). I would love to see him direct a Kanye music video. He started his career making gritty drug/crime movies, with the Pusher trilogy. He didn't come to "mainstream" until he got an up and comer named Tom Hardy to give a Ledger-as-Joker level performance as the title character in Bronson. Another movie about crime, but it shifts into territories of psychological and emotional fuckery the farther it goes. There's a sequence of Bronson talking to a metaphorical crowd, as he does throughout, and has half his face painted, and argues with himself, turning his head to show each side's point. It's one of my favorite moments in movies. It really becomes a metaphor for his career as it goes along as well. Wanting to make big, loud, art, but with no compromise. Bronson's visuals are well done, but look like a different filmmaker comparatively to his last 3 movies Drive, Only God Forgives, and now The Neon Demon.
There's a scene in The Neon Demon, during a what seems to be a fever dream type stupor Jessie is in, during her biggest success yet, and she sees a beautiful diamond like flashing signal. A version of herself is in it, and walks toward her. She looks confused and terrified. As it gets right up to her, there are reflections of this other version on each side of the shape. She leans over, and kisses each reflection on the lips, showing an almost masterbatory level of love toward itself, but also seducing the original into it. It's so wonderful to look at, and you can't look away. It could be seen as a view into Refn as well. Being seduced by his own visual style, and hesitant to really commit to what he wants, understanding there will most likely be consequences. You don't know whether it was clever, pretentious, or just a funhouse mirror lens on a subject. Which is ultimately what Refn is boiled down to being. Don't know if it was good or bad, but it sure was an interesting way to say it.