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Annette

  • 2021
  • Tous publics
  • 2h 21min
NOTE IMDb
6,3/10
24 k
MA NOTE
Marion Cotillard and Adam Driver in Annette (2021)
Trailer Launch
Lire trailer1:47
9 Videos
99+ photos
Romantic EpicDramaMusicalRomance

Un humoriste et son épouse chanteuse d'opéra ont une fille de 2 ans avec un don surprenant.Un humoriste et son épouse chanteuse d'opéra ont une fille de 2 ans avec un don surprenant.Un humoriste et son épouse chanteuse d'opéra ont une fille de 2 ans avec un don surprenant.

  • Réalisation
    • Leos Carax
  • Scénario
    • Ron Mael
    • Russell Mael
  • Casting principal
    • Adam Driver
    • Marion Cotillard
    • Simon Helberg
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,3/10
    24 k
    MA NOTE
    • Réalisation
      • Leos Carax
    • Scénario
      • Ron Mael
      • Russell Mael
    • Casting principal
      • Adam Driver
      • Marion Cotillard
      • Simon Helberg
    • 291avis d'utilisateurs
    • 244avis des critiques
    • 67Métascore
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 18 victoires et 54 nominations au total

    Vidéos9

    Aug 20 on Prime Video
    Trailer 1:47
    Aug 20 on Prime Video
    Official Trailer
    Trailer 1:54
    Official Trailer
    Official Trailer
    Trailer 1:54
    Official Trailer
    Annette
    Trailer 1:47
    Annette
    Annette
    Trailer 1:54
    Annette
    Annette
    Trailer 1:46
    Annette
    Annette
    Clip 2:31
    Annette

    Photos373

    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
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    + 366
    Voir l'affiche

    Rôles principaux99+

    Modifier
    Adam Driver
    Adam Driver
    • Henry McHenry
    Marion Cotillard
    Marion Cotillard
    • Ann Defrasnoux
    Simon Helberg
    Simon Helberg
    • The Accompanist
    Devyn McDowell
    Devyn McDowell
    • Annette in Prison
    Angèle
    Angèle
    • Special Guest
    • (as Angèle Van Laeken)
    • …
    Natalia Lafourcade
    Natalia Lafourcade
    • Special Guest…
    Sinay Bavurhe
    • Chorus Girl
    Franziska Grohmann
    • Chorus Girl
    Rachel Mulowayi
    • Chorus Girl
    Christiane Tchouhan
    • Chorus Girl
    Iman Europe
    • Chorus Girl
    Lauren Evans
    • Chorus Girl
    Cindy Almouzni
    • Chorus Girl
    Danielle Withers
    • Chorus Girl
    Julia Bullock
    Julia Bullock
    • Six Women Member
    Claron McFadden
    • Six Women Member
    Natalie Mendoza
    Natalie Mendoza
    • Six Women Member
    Kiko Mizuhara
    Kiko Mizuhara
    • Six Women Member
    • Réalisation
      • Leos Carax
    • Scénario
      • Ron Mael
      • Russell Mael
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs291

    6,323.7K
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    Avis à la une

    7ferguson-6

    Carax and Sparks fly

    Greetings again from the darkness. The anticipation of seeing a film directed by Leos Carax (HOLY MOTORS, 2012), and written and scored by Ron Mael and Russell Mael of Sparks fame, is derived from expecting the unexpected ... experiencing something we've never before experienced cinematically. And although the film is likely to be quite divisive - beloved by some, dismissed by others, confusing for all - the ingenuity, creativity, and risk-taking are quite something to behold. As for the narrative coherence? Well that's quite a different topic.

    A mere six weeks ago I watched and reviewed Edgar Wright's excellent documentary THE SPARKS BROTHERS, where Ron and Russell discussed their affinity and vision for movies, despite a few near misses over the years. This particular material was originally conceived as a rock opera album, and it's probable that very few directors would even attempt the transition to the big screen. It would be equally challenging as an opera, a play, or a stage musical. In simple terms, this is a musical-drama-romance; however in reality, it's confoundingly difficult to define or describe.

    The opening sequence begins in a recording studio with director Carax at the sound board as the Sparks band performs "So May We Start?" Soon they are marching the streets of Santa Monica, joined in singing the song by the lead actors of the movie we are about to watch. The narrator tells us, "Breathing will not be tolerated", which takes on a touch of irony during a pandemic.

    Adam Driver stars as Henry, an offbeat stand-up comedian, and Oscar winner Marion Cotillard stars as Ann, a popular opera singer. Henry bills himself as 'The Ape of God' and performs an abrasive comedy act that is interactive with his audience. He psyches up for each performance by shadow-boxing in a robe while puffing on a cigarette. Ann is often shown alone on stage (Catherine Trottman sings the opera parts, while Ms. Cotillard sings the rest). The couple is engaged when we open, and they later marry, have a child (the titular Annette), and take different approaches to their career. Henry and Ann are polar opposites and that's best exemplified by how they end their respective shows: he 'moons' his audience, while she gracefully bows in appreciation.

    Henry is a man filled with love, yet clueless on how to love. He's a tortured soul - the kind that doesn't believe he deserves the life he has and finds a way to self-destruct. Henry and Ann are passionate lovers and their duet "We Love Each Other So Much" has the most unusual timing that you'll see in a musical; in fact, the musical interludes (with repeating lyrics) often arise at the most inopportune (or at least unexpected) moments. Ms. Cotillard's talents are never fully utilized, while much of the film's weight is carried by Mr. Driver.

    After tragedy strikes, the story becomes quite bizarre with Henry and "Baby Annette". To say more would spoil that which should remain surprising. Simon Helberg's role as conductor increases in the second half, and his character's past with Ann lends itself to the complexity of relationships. This is a dark love story, and one that befuddles right up to the end. Director Carax and the Mael brothers could slide into the Avant-garde corner, but that might scare off even more potential viewers, so let's use 'fantastical' instead. Sometimes it tries a bit too hard to shock or agitate, and the stories are a bit discordant, but it's all for a good cause: provocation. The film, dedicated to Carax's daughter Nastya (who appears in the opening sequence), sometimes feels like the wild nightmares that you (mostly) don't want to end. And that's about all that should be said to preserve the experience.

    This Musical opens in theaters on August 6, 2021 and on Amazon Prime Video on August 20, 2021.
    7OneLastSushi

    Not your every-day-cinema

    This is some very strange movie, but I kind of liked it and stayed interested in how the story would end. Had some very weird decisions and shots in it, but all in all I appreciated the efford and the 'unperfectness' it showed. Also it leaves a lot of space for interpretations. Driver and Cotillard are top-notch and even Helberg fitted in quite well. Drivers 'comedy'-shows were great! All in all I recomment the movie to all arthouse-lovers. If you want to watch a blockbuster, go somewhere else.
    7gnekhin

    Is it a movie or a bizzare modern opera?

    This film reminded me of a new wave of opera directors, who, it seems, only want to find an interesting way to make another performance and not to tell a new exciting Story. I assume that opera directors don't have to find new stories anymore, as the audience doesn't even want a new story, they are much more interested in an another original look at the existing one.

    With all this out of the way, I think, that "Annette" is not being understood correctly. The story (even if it's slow and dull) isn't the only thing that makes a movie. If you find yourself watching this film again, pay attention to the acting and editing of the movie. If not for editing I would have assumed that I'm watching a recording of a modern opera or a theater piece. That's why I can recommend this film only to the dauntless among you, namely to the opera fans, who want to see something modern without an additional classical orchestra, and also to the "Sparks" fans, who no matter what will be really happy to hear "Spark" songs in an expensive musical video with a transparent plot.

    I have 2 grades for this picture. If I was grading a movie I would have given it 6/10. If opera than 8/10. At average the picture gets 7/10.
    5brankocerny

    Exhibitionist emotional manipulation

    This might be an unpopular opinion here as the film was selected to open Cannes, and so clearly the committee of experts saw a lot of artistic merit to it. To me, however, it felt like a student play that tries so so hard to be avant-garde that it forgets to be anything else.

    I went to a premiere in Prague and halfway in, people were leaving the theater in droves. That's not necessarily the sign of a bad film to me - not everything is for everyone. I still wanted to like it: I like stylized films. I enjoy the surreal. I'm here for the modern musical, genre-melding, society critique. But I had to fight the growing urge to leave myself.

    The positives first: you can see the budget at work, the set design and photography are fabulous. Even the 4th wall breaking beginning with the director himself kicking off the film was kind of cheekily confident and got me excited. The pacing is intense and there's a lot of energy. The leads are obviously fantastic actors.

    None of that saves the film, however. For being so tightly paced and filled with intensity and musical numbers - it's actually really boring. All the songs follow the same lazy pattern and so while you enjoy the first couple, eventually you find out it's really just people singing one sentence over and over to a rock/opera backdrop.

    Adam Driver's performance, especially on stage as a comedian, is powerful - but he kind of stays in just one gloomy tortured emo cry baby position and you don't get to see much of his redeeming qualities (like you did in, say, A Star is Born). Marion Cotillard's characters is essentially just a figure head for kindness and purity who doesn't get much real space to act.

    The film is long but the story basic and utterly predictable. There is a lot of emotional manipulation. You're shown a lot of "gasp" shots like Adam Driver performing oral sex on his pregnant wife, her wiping herself on the toilet, and the story overall develops into more and more troubling areas. This comes with a growing visceral gut punch: the general reception of the film where I saw it was people were feeling kind of anxious and sick to their stomach. That could be a good thing, some of the most powerful cinema is very visceral and art doesn't have to be pretty - if only there were some real substance to justify that. But if you just show the inevitable tragic decline of a family and tightly pack increasingly disquieting sights and atmosphere - but don't really show any real development to your characters or give the audience a proper chance to care about them because everything is delivered just as a singing chapter title - well what you get is 2.5hrs or visually stunning emotional manipulation that is hollow at its core.

    The whole thing left me feeling like an artist who is so preoccupied with being artsy that he forgot what's beautiful about art in the first place. If anyone finds its heart, please point me to it.
    luckyallstar

    My rating is 'Being John Malkovich' out of 10.

    I am confused on how I feel about this movie. At times I hated it. At others I was simply fascinated by it. And most interesting to see were the reactions. I've never seen so many people leave the cinema. And at the same time so many of those who did make it to the end be completely flabbergasted once the credits roll. The audience was confused and seemingly expected to see more. Like some Marvel after credits scene explaining or adding something.

    The things I hated: In short, at times the movie does seem like a pretentious pseudo-intellectual fart-sniffing contemporary theatre/performance art. The songs.

    The things I liked: many things are satirical. And most importantly, the twist at the end grounds the sillyness back to reality and puts it into a new perspective. But also, Adam Driver. The songs.

    What an interesting experience overall.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      While the stars of the film perform most of their own live singing, Marion Cotillard's operatic vocals are dubbed by Catherine Trottmann.
    • Citations

      [first lines]

      The Narrator: Ladies and gentlemen, we now ask for your complete attention. If you want to sing, laugh, clap, cry, yawn, boo or fart, please, do it in your head, only in your head. You are now kindly requested to keep silent and to hold your breath until the very end of the show. Breathing will not be tolerated during the show. So, please take a deep, last breath right now. Thank you.

    • Crédits fous
      There is an additional scene that plays over the end credits.
    • Connexions
      Featured in MsMojo: Top 10 Best Musical Movies of 2021 (2021)
    • Bandes originales
      So May We Start
      Written by Ron Mael, Russell Mael and Leos Carax

      Performed by Sparks, Adam Driver, Marion Cotillard and Simon Helberg

    Meilleurs choix

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    FAQ17

    • How long is Annette?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 7 juillet 2021 (France)
    • Pays d’origine
      • France
      • Allemagne
      • Belgique
      • Japon
      • Mexique
      • Suisse
      • États-Unis
    • Sites officiels
      • Aerofilms (Czech Republic)
      • CG Cinéma (France)
    • Langues
      • Anglais
      • Français
    • Aussi connu sous le nom de
      • Món Quà Bất Ngờ
    • Lieux de tournage
      • Münster, Rhénanie du Nord - Westphalie, Allemagne(LVM Headquarters at Kolde-Ring 21, as LAPD exteriors)
    • Sociétés de production
      • CG Cinéma
      • Tribus P Film
      • Théo Films
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 16 562 200 € (estimé)
    • Montant brut mondial
      • 3 688 261 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      2 heures 21 minutes
    • Couleur
      • Color
    • Rapport de forme
      • 1.85 : 1

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