The Neon Demon

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A SCREEN ZEALOTS REVIEW www.screenzealots.com LOUISA SAYS: What…did I….just watch? Not for the uninitiated or those with weak stomachs, everyone’s favorite polarizing surrealist director Nicolas Winding Refn is back with the lurid, gory, sadistic, and horrifyingly beautiful “The Neon Demon.” This film makes a bold statement about the shallowness of Hollywood and the fashion industry in the most violent, brutal, bloody and disturbing way possible. The film’s strength is in its breathtaking visuals. Refn once again establishes himself as a true auteur at the top of the visionary food chain. Even if you are one of the many who see him as pompous and pretentious, there’s no denying that few have quite the mastery of the craft of the visual arts as he does. This film belongs in a modern art museum. It doesn’t matter that there’s not much of a plot: teenage ingénue Jesse (Elle Fanning) moves to Los Angeles to chase her dreams of becoming a model. She soon finds herself living in a sketchy motel with lecherous landlord Hank (Keanu Reeves) and surrounded by the seductive Ruby (Jena Malone), Gigi (Bella Heathcote) and Sarah (Abbey Lee), a pack of shallow, jealous, beauty-obsessed women. It’s hard to evaluate the performances since most consist of nothing more than striking and holding a pose or staring longingly into a mirror, but I do think that Reeves has one of the greatest (if small) roles of his career. There’s no escaping the true debate this movie presents: is this a shrewd feminist manifesto or is it grossly misogynistic? It’s taken me three days to reflect on this and I’ve decided that it sways towards the former rather than the latter. First, the film celebrates the female form; the women in the film are beautiful set dressings, designed to be admired (and not treated solely as sexual objects). Yes, the women are one-dimensional but at the same time, that works as a harsh criticism of the narcissism that’s so prevalent in the fashion industry. Refn also artfully expresses the malice that is sometimes deeply hidden in the female psyche. The film is insightful too: women have a dark side and sometimes we do feel like we are in a girl-eat-girl world (a phrase that the film takes a bit too literally). Refn’s hypnotic signature is all over this stylish, elegantly violent film. Cinematographer Natasha Braier adds a disturbing hallucinatory effect while Cliff Martinez lends a thumping, ear-splitting, ominous score that reflects the overall atmosphere of insanity. As with the director’s other films (“Drive,” “Only God Forgives“), there are plenty of scenarios that seem to be present with the sole intent to shock, offend or disgust. (Do we really need an extended scene of lesbian necrophilia? I guess you can argue the point, but the scene goes on a bit too long to make it seem relevant to the plot or characters). The extreme last act feels more like a pointless gross-out than a thoughtful commentary think piece. I think this is a good place to mention that this film is a very, very hard ‘R’ rating; I am surprised it’s not NC-17. “The Neon Demon” isn’t your run-of-the-mill art house film; it’s so far beyond the art house that it’s in another dimension. MATT SAYS: A teenage runaway from Sandusky, Ohio steps off a bus into the glittering lights of Hollywood. All of her friends back home tell her that she’s destined to be a star, and she believes them. But Hollywood does not bestow fame and fortune without a price. First it will take her innocence, then it will take all that remains. So is the story of “The Neon Demon,” the new film by auteur Nicolas Winding Refn (“Drive,” “Only God Forgives”). Elle Fanning is Jesse, the underage runaway that has been lured to Los Angeles by the whispered promises of becoming a famous model. She meets up with another innocent who was been lured to the city: photographer Dean (Karl Glusman), whose attempts at emulating the art he sees in Hollywood through pictures are met with sneering ridicule as “amateurish.” Dean hasn’t sold his soul, and those who have have nothing but contempt for him. Jesse, on the other hand, makes the bargain readily: after being paraded before harshly appraising eyes and being judged a piece of meat worthy of notice, she willingly trades her virtue for empty glamour and attention. After having reborn on the runway, Jesse quickly learns that she has still not given enough: people continue to want more from her, and what they want she isn’t willing to give. “The Neon Demon” is not for everyone. It’s not even for most. Even if you enjoyed “Drive,” you may find yourself frustrated and your patience tried by this movie. There is much to appreciate, but you will be challenged in doing so. In this film, Winding Refn has made an art piece that must be assessed, considered, and deconstructed. Those who are literal-minded will likely find their patience tried: the story isn’t about what’s happening on the surface, it’s about what’s happening underneath. You must watch, listen, and observe carefully. One additional word of warning: “The Neon Demon” is highly disturbing and will upset many casual viewers. Apart from its gore and physical violence, the film pushes boundaries HARD. Terrible things are either shown or implied. I can’t for the life of me understand why the studio and theater chains thought that this was an appropriate film to release in nearly 800 theaters nationwide. One can imagine that of the few audience members who didn’t walk out during the first 20 minutes ran for the exits at its offscreen implication of child abuse. If you’re still reading this review and haven’t been dissuaded yet, I recommend that you see this movie. It’s one of the most interesting discussion pieces in recent memory and it’s not one that I will soon forget. **A SCREEN ZEALOTS REVIEW www.screenzealots.com**

I found there to be something pruriently distasteful about this look at the modelling industry. Perhaps that was Nicolas Winding Refn's intention as he introduces us to sixteen year old aspirational model "Jesse" (Elle Fanning). Her arrival in Los Angeles sees her land on her feet to a certain extent as photographer "Dean" (Karl Glusman) takes some photographs for circulation. They date, after a fashion, and as she lives from her grotty hotel room under the guise of seedy landlord "Hank" (Keanu Reeves) she gradually spreads her wings before alighting on the star-maker "Jack" (Desmond Harrington) who sees something in her appearance that escapes a few of her older and more experienced rivals - like "Sarah" (Abby Lee). It turns out that "Dean" is actually quite a decent lad, and when he sees the choices she is making in her determination to climb the greasy pole decides to take a back seat. Now, the increasingly faux-confident young woman finds herself immersed in a culture that is as dog-eat-dog as it is glamorous, and it's going to test her mettle and her judgement if she is to emerge anywhere near unscathed from a series of toxic, borderline horrific, scenarios. I must admit that I found there something oddly sterile about this film. I felt as if I was observing something exploitative, certainly, but also something in which all the characters - regardless of their maturity - were just as complicit in the duplicity and treachery that is only really bucked by the lesbian make-up artist "Ruby" (Jena Malone) who has somehow managed to keep some semblance of a sane head on her shoulders and who attempts to provide some sort of anchor for a "Jesse" who is struggling to identify, let alone assert, her true self. I thought Fanning's performance reminded me a little of Nastassia Kinski's from "Paris, Texas" (1984) but without the potency and with a surfeit of dialogue and paucity of activity here, I just wasn't emotionally moved at all.

**It's not anymore a competitive world, but jealousy!** It started off very well and in the half mark, it completely lost. In the initial part, it looked like a normal film and then I think even the writer does not know what could happen, they just improvised with whatever they had. Writing was totally messed up. When they had the great characters, it becomes nothing in the end. I'm not a fan of this director, and all his films are average, but this one is the worst among them. I'm not an art film hater, though I hate wasting scenes without any developments and this one had many like them. If you trim them all out, the overall film is around 45 minutes. The rest of the film was just music, colourful lights, and sometimes totally idle, which definitely drag the viewers to the boredom. Whenever there was a scene with the story, like dialogues and developments, I thought it was going well. But then those useless, dialogueless segments turned me off. Especially the conclusion was absolutely crap. Elle was good, like a character made for her. Keanu Reeve was useless, his addition was just a marketing strategy that did not click. This is the story of a teen girl aspiring to be a model, but surrounded by the jealousy people because of her fast growth. How it all goes between them and in the fashion world is what the film talks. The film is watchable, but mostly the second half onwards it gets boring. In the end, I don't think anyone would be satisfied completely with their watch, maybe very, very few, but if you consider the majority, this does not deserve to be suggested. _3/10_

The Neon Demon is a breathtakingly classy, visually intoxicating masterpiece that operates as a hypnotic descent into the dark, predatory underbelly of the high-fashion industry. From its opening frames, the film establishes an immaculate, high-art aesthetic defined by striking symmetry, neon-drenched lighting, and a chillingly sophisticated atmosphere that keeps the viewer completely transfixed. Every single composition is crafted with uncompromising precision, allowing its luxurious visual language and a mesmerizing score to carry the profound weight of the experience. The tone moves with a deliberate, haunting intensity, blending intoxicating beauty with unsettling psychological depth. The performances are remarkably striking and composed, perfectly capturing a cold, elegant alienation that elevates the material far beyond conventional storytelling. It treats its provocative themes with daring intellectual confidence, functioning as a razor-sharp, hypnotic critique of vanity, obsession, and the consuming nature of worship. It stands as a rare, uncompromising work of cinematic art that lingers in the mind with an unforgettable, haunting elegance.

Awesome up til the climax. Goes from a guts-deep analysis of 1) narcissism and its development, 2) the horrors of fashion culture to a by-the-numbers "wow figure out the mystery wow" thriller. Turn it off when there's 30 minutes left and it'll be your film of the year