The image of a ventriloquist dummy singing in a smoky L.A. nightclub lingers like a bad dream—one that refuses to dissolve even after the credits roll. Leos Carax’s “Annette” (2021) is a film that demands attention, though not always for the right reasons. A surreal rock opera starring Adam Driver and Marion Cotillard, it follows the tumultuous relationship between a controversial stand-up comedian and an internationally renowned opera singer, whose daughter possesses an extraordinary gift that reshapes their lives in ways both wondrous and horrifying.

Carax, a director known for his avant-garde sensibilities, has crafted a visual spectacle with “Annette.” The film is a feast of striking imagery, from the opening operatic performance to the surreal nightclub scenes where Driver’s character, Henry McHenry, holds court. The cinematography leans into Carax’s signature style—bold, often disorienting, and unapologetically artistic. This visual flair is paired with an original soundtrack that blends opera and rock, composed by Ron and Russell Mael of Sparks and performed by the cast. Cotillard’s operatic vocals are particularly noteworthy, soaring above Driver’s raw, emotional delivery in songs like “So May We Start” and “We Love Each Other So Much.”

The film’s central premise—a love story between two artists from vastly different worlds—is compelling on paper. Driver and Cotillard bring a palpable chemistry to their roles, capturing the complexities of Henry and Ann’s relationship with nuanced performances. Driver, in particular, delivers a standout turn as Henry, a comedian whose dark humor and volatile personality make him both charismatic and unsettling. His performance is anchored by moments of genuine vulnerability, where he lays bare the fragility beneath his brash exterior.

Cotillard, too, excels as Ann, an opera singer whose grace and poise mask her own inner turmoil. Their dynamic is one of the film’s strongest elements, with both actors bringing depth to their characters’ emotional journeys. The first half of “Annette” is engaging, as Carax builds a world where love and art collide in unexpected ways. However, it’s here that the film begins to show its cracks.

The ship scene, which some critics have cited as the breaking point, marks a turning point where the narrative stumbles. The pacing becomes erratic, and the plot descends into a series of shocking events that feel more like cheap shocks than earned emotional beats. Carax’s surrealism, while visually striking, often feels self-indulgent. The film’s themes of love, art, and family are explored through its music and visuals, but the narrative structure struggles to maintain coherence.

One of the film’s most intriguing concepts is the portrayal of Annette herself. Voiced by Devyn McDowell, Annette is initially a baby with an exceptional gift, but as the story progresses, she becomes something far more unsettling—a ventriloquist dummy that embodies the darkest aspects of her parents’ relationship. This concept is visually striking and thematically rich, but its execution feels gimmicky at times. The transition from Annette as a baby to her subsequent role in the story is handled poorly, with the film struggling to maintain a consistent tone.

Comparisons to other musical films are inevitable, and “Annette” falls short in comparison to works like Jacques Demy’s “The Umbrellas of Cherbourg” or Damien Chazelle‘s “La La Land.” While those films successfully blend music and narrative, “Annette” struggles to find a balance. The film’s originality is its strongest suit, but it ultimately falters due to its lack of coherence.

In terms of genre fit, “Annette” straddles the line between drama and romance, with musical elements that set it apart from traditional narratives. However, its surrealism and disjointed pacing make it a challenging watch for those not accustomed to Carax’s style. The film is likely to appeal to fans of avant-garde cinema and experimental music, but it may leave mainstream audiences scratching their heads.

The performances by Driver and Cotillard are the film’s saving grace. Their chemistry is palpable, and their vocal performances add depth to their characters. Simon Helberg, as The Accompanist, provides some much-needed levity, but his role is underdeveloped. Natalia Lafourcade’s cameo as Special Guest / The Police adds a touch of authenticity to the film’s musical elements.

Despite its flaws, “Annette” is a bold and ambitious film that takes big risks. Carax’s direction is visually striking, and the original songs are memorable. However, the film’s narrative structure and pacing issues prevent it from reaching its full potential. It’s a shame, because the core idea of a love story between two artists is compelling, and the performances by Driver and Cotillard are outstanding.

The film’s themes of love, art, and family are explored through its music and visuals, but the narrative structure often feels disjointed. The transition from the birth of Annette to her subsequent role in the story is handled poorly, with the film struggling to maintain a consistent tone. The use of Annette as a ventriloquist dummy is an interesting concept, but it’s executed in a way that feels more gimmicky than meaningful.

In conclusion, “Annette” is a surreal, emotionally rich rock opera that takes big risks but ultimately stumbles in its execution. While the film’s visual flair and original soundtrack are impressive, its narrative structure and pacing issues prevent it from reaching its full potential.