Refn is going through a difficult period: all proved and received a place under the sun, he now does not know where to go next. Already “Only God forgives” was pure indulgence and whim of the author, who corny brought some themes of his work to the extreme, for a change, moving to exotic Asian scenery.
With “Demon” on the one hand, about the same thing: Refn continues to move in the direction of assurenet and the prevalence of form over content. But his ego and creative crisis has led to the fact that he started talking with the audience. Or rather, to provoke him, teasing, being nice and showing off before him. The show is gradually turning into a flirt between the Director and the audience in the best traditions of not even Gaspar noé, and Trier, where in the end, Refn solemnly confesses that he is a sick fetishist, and then either get offended or admit that you all like it too, at least a little, but like.
The neon demon
Most of the film is intentionally very sweet and bright Elle fanning just wandering between a world of beautiful Wallpapers and cheap motels, friends in the “Drive” and sterile, cold, but such a stylish world of the fashion industry. In the first are men still alive in the face of a guy-the photographer and even the Manager of the Motel, and the second — no, there is only subtle heartless creatures and one neon demon as the sun/God/Nirvana/etc. Refn pulled out of the culture of the 80s and mystical triangles, while others use them as a stylistic device in serial titles, turned into a translucent metaphor that can be interpreted in different ways. As Mr. gold in “Revolver”.
The demon in the title and is the turning point of the film, says that, of course, Refn talks about something more General and universal than about the cannibalistic nature of the fashion industry. In fact, it inadvertently retells the myth of Icarus, and unless he burns his eat vampires.
To make the film for one simple idea for Refn, of course, is fine: “Valhalla” is about the fall of the Old world to the New, “Drive” — about how Ryan Gosling became a real human being. But they still had many other and much fresh. No one talked about the Vikings as Refn, and it is inspiring. And “Drive” as nothing else helped up the fashion retroview in pop culture, and especially in the gaming and music industries.
But “Demon”, as “God will forgive”, is unlikely to inspire. He’s pretty lazy: Refn why-it ignores the guest-soundtrack (Nightcall like or Oh My Love does not belong to a partial credit for the success of “Drive”), and the composer does not allow to write anything more emotional and dynamic than the whispering-singing stream of glitter. He’s lazy scenario: minor lines go nowhere, characters disappear out of the picture after one or two episodes, but at some point the plot will seem to disappear at all.
He expected beautiful, but the novelty of it begins and ends on the outrageous festival audience and the personal fetish of the author. Refn in a sense, took a two-hour version of the same advertisement for “Hennessey”, where in an attempt to fill the void turned into Trier. Lesbian necrophilia, and blood flows under the moon is a certain kitsch to the level of a piss at the wedding of Kirsten dunst, Masturbation after otrazenie member in “the Antichrist” and other jokes of a Danish Troll. Well, unlike Trier, Refn is still possible to distinguish jokes from sincerity: the man’s entire career is really looking for the beauty in violence, and two naked models in the neon light under the bloody shower is, undoubtedly, not for an audience, but for themselves.
You can love the same thing and Refn, to understand his passion and his jokes, and as a consequence loving “Demon”, but instead of talking about the film, anyway, it still turns the conversation about the Director. It allows the author to create around himself the myth and turn yourself into a hero, but reduces the real value of what he’s doing.