Writer-director Brady Corbet’s Vox Lux is an enthralling picture. A compelling protagonist and good storytelling make for a most rewarding picture.
Vox Lux functions as a fictional biopic, focusing on key periods in the life and career of protagonist Celeste. The film is divided into three chapters, each offering a fresh perspective on Celeste. Not a particularly enigmatic figure at first glance, nevertheless this is a rouse. Celeste is depicted with layers and depth; she is a striking protagonist.
From the shock and horror of an early scene, Vox Lux is not shy in including the political in its narrative. This works well; the events (both real and fictional) work well to contextualise the world which makes Celeste a star. Brady Corbet’s film is rife with observation, coming from both narrator and protagonist.
One of the main themes of the film is the nature of fame. Corbet broadly depicts a negative depiction, in both the way Celeste becomes a star, and the impact it has on her and those around her. The film has something very interesting to say, but lets viewers make their own interpretations. The final chapter puts an appealing spin on what has come before. The ending works well; subtlety here wins over a more forceful conclusion.
The music of Celeste (written by Sia, who is also an executive producer), is pure disposable pop. It makes for a thought-provoking finale, as antithetical as that sounds. The performance makes audience question the place of this style of music, and the commodification of it.
Performances are great throughout. Natalie Portman is completely convincing as the adult Celeste. Raffey Cassidy is also superb as child Celeste. Stacy Martin, Jude Law, and Jennifer Erle provide great support. Makeup and costumes are fantastic in the second half of the film.
Vox Lux ruminates long after the credits roll. A compelling and satisfying picture.
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