There is a glossy sheen to the bizarre, theatrical world that stand-up comedian Henry McHenry lives within, and yet by the end of Annette, Leos Carax raises the question of just how much its peculiar details are simply the warped perceptions of an egomaniac unable to confront a reality that doesn’t place him at its centre.
Emerald Fennell never falters in her tonal balancing act of weaving harsh depictions of trauma around gentle nostalgia and humour, thereby creating a moving, thrilling, and darkly incisive black comedy in Promising Young Woman.
Barry Jenkins’ revision of the real “underground railroad” manifests as a retro-futuristic gift of modern-day resources to those who worked in secret to free slaves, dropping small, quiet doses of magical realism in among historical horrors.
