The Neon Demon (2016)

There is no shortage of films that deal with the subject of the artificiality of Los Angeles (one of them even features this movie’s star Elle Fanning), or the nasty insidiousness attendant on the objectification of women within the creative industries (think Showgirls). And then there are films that go for a heightened atmosphere, with dialogue which would be almost risible were it not for the acting being pitched at such an icily aloof plateau, and the images being so artful and gorgeously composed that it all seems of a piece with the allegorical (perhaps Orphic) subject matter (frankly, Refn’s last film Only God Forgives went for that register too). Oh, and there are even horror films about vampiric sexuality (in a sense most vampire movies are about sex, though Claire Denis’s Trouble Every Day was sort of working in a similar place).

Needless to say, I was thinking about lots of films while watching The Neon Demon, because it’s very much a film about making films — photographers do not come out at all well here and that’s surely a directorial self-critique. However, it works too as a further development of the lushly misanthropic style of Refn’s previous film, married to a throbbing Cliff Martinez electronic score that only further emphasises the strangeness of the many liminal, blank spaces the film sets itself in. By the end, Jena Malone’s make-up artist Ruby has more or less taken over the film from Fanning’s ingenue model Jesse, a narrative shift the film marks with a sort of Crowley-like magickal ritual transference involving much neon and mirrors (the demon of the title, one presumes), but then much of the film works more at an allegorical level (even Malick’s Knight of Cups seems naturalistic compared to this). It’s unsettling, certainly, not least for what it says about Refn’s view of women’s relationships with one another (there’s a disturbing lesbian/necrophiliac theme to emphasise this), but then everyone in this world is a parasite (not least the characters briefly essayed by Keanu Reeves and Christina Hendricks), and all sexuality is violent, it seems to posit.

I’m almost willing to talk myself out of liking it but for the sustained atmosphere and excellent performances — if heightened hyperstylised camp is your thing that is.

The Neon Demon (2016)CREDITS
Director Nicolas Winding Refn; Writers Refn, Polly Stenham and Mary Laws; Cinematographer Natasha Braier; Starring Elle Fanning, Jena Malone, Bella Heathcote, Abbey Lee; Length 117 minutes.
Seen at Soho Hotel, London, Wednesday 1 June 2016.

รับคำท้าจากพระเจ้า Only God Forgives (2013)

A note on the title: The title card of the film is in Thai, subtitled into English. None of the online sources give me a transliteration of this title, but if I were following the rather pedantic rules I’ve been using on this blog, I would give the title in Thai.


There are undeniably words and ideas that, if you read (or indeed write) a lot of film/literary criticism, you find yourself coming across more often than one might expect in the real world. It often comes down to finding an apt adjective to try and grasp a sense of a film’s style or mood, and if any ever film was reliant on style and mood then it’s this one. And the chief adjective that comes into my addled brain is “oneiric”.

I think it’s worth leading with that because when I start getting into a plot summary it will sound all so very banal, that I must stress that when it’s playing out it owes far more of a debt to European art cinema (and you can see from all the co-production credits that it quite literally has plenty of that) not to mention the more dream-like passages of David Lynch. But I like the word ‘oneiric’ because of its Ancient Greek derivation, and if there’s any story that has inspired Only God Forgives, it must surely be that of Oedipus; plenty of what happens in the film only really makes sense if you’re attuned to the mythic archetypes that Refn is fixated upon.

But I’m getting ahead of myself. The protagonist of the piece is the laconic Julian (Ryan Gosling), the owner of a Muay Thai (kickboxing) gym, whose twisted brother gets himself killed. Their mother (a steely and platinum blonde Kristin Scott Thomas) demands vengeance, and things start getting messy, particularly when police lieutenant Chang (Vithaya Pansringarm) and his samurai-like blade gets involved. But if Gosling and Scott Thomas ethnocentrically head the credits list, it is in fact Pansringarm who carries the film, his implacable middle-aged detective, moving slowly and with great deliberation, functioning as the sort of avenging angel for these errant Westerners.

Other reviewers have done much better at unpicking some of the implications of cultural tourism in having a Danish director and US stars in the Thai setting (and I would point you to this piece on The Hooded Utilitarian I found while trying to Google the film’s correct Thai title). In short, though, these are interlopers in a culture they don’t fully understand and Refn isn’t interested in the usual narrative structures — famous (white) lead actor gets one over on the violently foolish locals. There’s quite a different story happening here, and it’s one with no clear winners.

If the film steers clear of the standard revenge film clichés, it comes a lot closer to being a risible arthouse exercise in style over substance — at times it’s like a pure channelling of the violent physicality and alienation of, say, Gaspar Noé (who is thanked in the credits). Certainly, Cliff Martinez’s droning score only seems to heighten the disconnect between the ravishing imagery and any emotional affect. Still, as you’ll see by the rating I’ve given the film, I don’t think it quite succumbs to the weight of all that portentous imagery, if only by the very vigour with which it is embraced. Almost every shot is saturated in neon reds and blues, as Julian drifts impassively through a seedy underworld of brothels, fight clubs and karaoke bars, presided over by the ever-watchful eyes of various monsters (the huge iconic demon on the wall at the boxing club, or the martial statue that haunts Julian’s dreams/waking life). Several of the conversations between the protagonist and his mother (not to mention a particularly grisly scene near the end) exist mostly in order to deepen the play of signifiers that Refn is so invested in: phallocentrism, castration complexes, the interplays between sex, birth and death — stuff that easily drifts into the pretentious.

What I’ve been trying to get across here, however inadequately, is that I would quite understand if other viewers were to find an arid, pretentious vision of revenge and parental attachment issues. I think the film can easily be taken that way, from its violent imagery, its hyperstylised colours and its almost narcoleptic forward momentum. And yet, if it perches on the edge of this very fine line, I prefer to think that it succeeds, compellingly pushing at the boundaries of morality in showing an impassive man who appears to have resigned responsibility for his life being confronted by an embodiment of divine judgement, retribution and maybe even forgiveness, though of all the divine qualities, that one is the most tenuous here.

Only God Forgives film posterCREDITS
Director/Writer Nicolas Winding Refn; Cinematographer Larry Smith; Starring Ryan Gosling, Vithaya Pansringarm, Kristin Scott Thomas; Length 90 minutes.
Seen at Cineworld Wood Green, London, Friday 2 August 2013.