“The Neon Demon” is a psychological thriller film written, directed and produced by Nicolas Winding Refn. Refn, known for his particular style of cinematography, is the mind behind films such as “Drive” and “Valhalla Rising.”
Elle Fanning stars in “The Neon Demon,” portraying an aspiring young model trying to succeed within Los Angeles’ salacious beauty industry. Keanu Reeves and Jena Malone also appear in supporting roles.
Not unlike other Refn films, “The Neon Demon” is a visual masterpiece. Symmetrical wide shots are utilized to construe a world defined by camera placement, a world that is explicit and egotistical about presenting itself. Refn embraces the aestheticization of sex and violence, often in concert, and he doesn’t shy away from showing it to the audience in vivid detail.
As such, parts of the movie are quite difficult to watch, specifically towards the climax. But “The Neon Demon” doesn’t cop out with blatant shock value; the tension is coalesced in a way that forces characters to go through necessary extremes to fulfill their motivations. The story calls for these intense situations, and the way these scenarios play out demonstrates Refn’s knack for screenwriting.
Elle Fanning’s character, Jesse, quickly grasps the nuances of narcissism that are required to fit into the Hollywood underground. Her character grows through vivid, strobe-like hallucinations that embody various themes in the narrative. Although framed as the main character, it becomes clear rather quickly that everyone in the film is an antagonist.
There is a certain aspect about Jesse that seems to be intentionally hidden from the audience. Characters are absolutely floored when she is introduced, and continue to be hypnotized by her presence in each successive scene. In turn, Jesse is able to manipulate others without doing anything at all, a trait to be pined for in Refn’s Los Angeles atmosphere.
The audience is constantly told how “true beauty is the highest valued currency we have” in the context of the film, through both dialogue and action. Characters go to absurd, surrealist and often superfluous lengths to reclaim beauty.
It gets to a point where hedonistic desires begin to pull the ripcord from the film’s reality. However, because the movie doesn’t take itself too seriously, instead making for an entertaining plot device.
The music is on point as well. Somewhat similar to the music of “Drive,” “The Neon Demon” utilizes an ‘80s electronic aesthetic, but keeps dynamic percussions going, this time in order to control and inflict anxiety.
For me, it all comes down to the cinematography. Refn is not so different from fellow renowned director Wes Anderson — scenes in both directors’ works are usually meticulous, descriptive, colorful and sets a tone before even a word of dialogue is spoken.
What sets Refn apart is his pacing. Certain scenes take forever to play out, and silence is used so liberally that it could make Stanley Kubrick shed a tear.
“The Neon Demon” is going to take a few watches to fully comprehend, though I’m not sure if I particularly want to experience the sick and slow world of it all again. Be that as it may, I was quite immersed by the entrancing, disgusting and entertaining roller coaster it was made to be.
Get content from The Daily Lobo delivered to your inbox
Audrin Baghaie is a culture reporter and movie reviewer for the Daily Lobo. He can be reached at culture@dailylobo.com or on Twitter @AudrinTheOdd.
