What…did I just witness? Not for those easily disturbed or unfamiliar with challenging cinema, Nicolas Winding Refn returns with “The Neon Demon.” This lurid, bloody, and visually striking film makes a pointed commentary on the superficiality of Hollywood and the fashion world through shocking violence and disturbing imagery. The film’s greatest strength lies in its stunning visuals. Refn solidifies his reputation as a visionary filmmaker. Even those who find him pretentious can't deny his mastery of visual artistry; this film truly belongs in an art museum. It doesn’t matter that the plot is minimal: Jesse (Elle Fanning), a young woman with dreams, moves to Los Angeles to pursue modeling. She finds herself living in a rundown motel alongside a creepy landlord, Hank (Keanu Reeves), and surrounded by beautiful but cutthroat models like Ruby (Jena Malone), Gigi (Bella Heathcote) and Sarah (Abbey Lee). It’s difficult to judge the performances since they largely involve posing or gazing into mirrors, though Reeves delivers what might be one of his most memorable roles. The film raises a significant question: is it a feminist statement or an example of gross misogyny? After considerable thought, I believe it leans toward the former rather than the latter. The movie celebrates the female form; the women are presented as beautiful objects to be admired, not simply sexualized. While they may seem one-dimensional, that actually serves as a critique of the narcissism prevalent in the fashion industry. Refn also explores the darker aspects of the female psyche, acknowledging that women can harbor malice and sometimes feel like they’re competing with each other. The film offers an insightful look at this dynamic, even if it takes the “girl-eat-girl” concept a bit too literally. Refn's distinctive style is evident throughout this elegant and violent film. Cinematographer Natasha Braier creates a disorienting, dreamlike atmosphere, while Cliff Martinez’s unsettling score amplifies the overall sense of unease. Like his previous films (“Drive,” “Only God Forgives”), there are scenes that seem designed solely to shock or disgust. (Is an extended scene of lesbian necrophilia really necessary? It feels drawn out and doesn't quite fit with the plot or character development.) The final act feels more like a gratuitous spectacle than a thoughtful commentary. I should mention that this film earns its “R” rating, and it arguably deserves to be NC-17. “The Neon Demon” transcends the typical art house film; it exists in a realm of its own. A young woman from Sandusky, Ohio, arrives in Hollywood lured by promises of fame. Her friends back home tell her she’s destined for stardom, and she believes them. But Hollywood demands a price for fortune and recognition – first, her innocence, then everything else. That's the story of “The Neon Demon,” Nicolas Winding Refn’s latest film. Elle Fanning portrays Jesse, an underage runaway drawn to Los Angeles by the allure of becoming a model. She encounters Dean (Karl Glusman), another newcomer who tries to emulate Hollywood art but is dismissed as amateurish. Those who have compromised their values hold nothing but contempt for him. Jesse readily makes that bargain: after being scrutinized and deemed worthy of attention, she exchanges her virtue for fleeting glamour and recognition. But even then, people still want more, something she's unwilling to provide. “The Neon Demon” isn’t for everyone. Even fans of “Drive” may find it frustrating and challenging. There's much to appreciate, but doing so requires effort. Refn has created a work that demands analysis and consideration; those who take things literally will likely be impatient. The film isn’t about the surface events, but what lies beneath. Careful observation is essential. Be warned: “The Neon Demon” is deeply disturbing and will offend many viewers. Beyond the violence, it pushes boundaries aggressively. Horrific acts are shown or implied. It's baffling that studios and theaters released this in so many locations. Some audience members likely left during the first twenty minutes, while others were shocked by its implications of child abuse. If you’ve read this far and haven’t been discouraged, I recommend seeing it. It’s a compelling conversation starter and one I won't soon forget.

Source on TMDB