“Annette” is a musical about the ill-starred romance concerning two artists, a description that suggests clear kinship with “La La Land” and “A Star is Born.” Not to enjoy algorithm or just about anything, but if you appreciated people films, you will likely like this a person far too.

Or possibly not. While it belongs, a lot more or fewer, to the resilient style of backstage musical, “Annette” aims to be a little something darker and stranger than a different angsty melodrama about the entanglements of ambition and enjoy. It has some modern opera in its DNA — a lurid strand of violence, insanity and demonic enthusiasm that evokes pre-Environment War II Vienna or Berlin as significantly as basic Hollywood. Instead than bursting into tune or breaking into dance at opportune times, the characters stream their tormented consciousnesses by way of lyrics that are by no means as very simple as they seem.

“We appreciate each individual other so a lot.” That is the chorus that sticks in your head as you show up at to the tragic tale of Henry McHenry (Adam Driver) and Ann Desfranous (Marion Cotillard), a overall performance artist and an operatic soprano whose relationship is catnip for the tabloid media. Their like is the film’s premise and its central extraordinary problem. It’s also, in a way, a pink herring. The sexual bliss and emotional rapport that fill the very first act give way to anger and alienation, but this isn’t just a like tale with a unhappy ending. It is more of a circumstance review, a critique of the intimate mythology on which its attractiveness would appear to be to count.

A collaboration between Ron and Russell Mael — superior recognized as the long-lived, pigeonhole-defying band Sparks — and the director Leos Carax, “Annette” opens with an overture in the key of anti-realism. The Mael brothers, who wrote the script as well as the music, are in the recording studio. Carax and his daughter, Nastya, are at the rear of the mixing board. The cast and crew wander out into the street, and Driver and Cotillard slowly and gradually shift into character. He places on a flowing dim wig and then a motorbike helmet. She climbs into a black SUV. They are now Henry and Ann. The boundary amongst artifice and actuality has been evidently marked for us for these two it will be blurry, permeable and treacherous.

Carax, whose feverishly imaginative attributes consist of “Pola X” and “Holy Motors,” has hardly ever had a great deal use for the naturalism that serves most filmmakers as a default environment. The globe of “Annette” has some familiar area names (which include Tokyo, London and Rio, though most of it will take spot in Los Angeles), but it is a land beyond the literal, a figment of stage structure, desire logic and hallucinatory expressionism. The point that the characters sing a lot more than they chat — even during intercourse — is in some strategies the minimum strange point about the film, which casts a collection of mechanical puppets in the title role.

Annette is the name of Ann and Henry’s daughter, and to clarify her centrality to the narrative may be to threat a spoiler or two. Not that the plot is terribly intricate or shocking it unfolds with the relentless momentum of a nightmare. Very first arrives like, then will come relationship, then arrives Annette in the infant carriage. What follows is drunkenness and murder shipwreck, ghosts and guilt.

But let us go back to the beginning, to Henry and Ann in their year of mutual enchantment. Although just about every has a flourishing occupation, it is Henry who promises most of the focus. That’s partly charisma, partly narcissism, and completely steady with his identification as an artist. He is the star and author of “The Ape of God,” a one-man show (with backup singers) that traffics in the variety of belligerent self-screen that popular society sometimes errors for honesty.

Bursting on to the phase in a hooded bathrobe that falls open up to expose limited boxer briefs and an impressively sculpted torso, Henry harangues the viewers with personal, typically obnoxious confessions. Disgrace and bravado are the alternating currents of his act, yoked by hyper-articulate, cynical self-consciousness. The audience laughs, even though Henry is not telling jokes so a lot as daring the general public to just take his aggression critically.

Is he an internal critic of harmful masculinity or an exceptionally magnetic example of it? That could be a distinction with out a big difference. With Henry, as with some of his hypothetical real-existence analogs, it’s tough to individual the artwork from the artist for the reason that the defiance of such a separation is the whole place of his artwork.

Ann is a various variety of artist, and a considerably less insistent existence in the film. She seems, at times, to recede in the shadow of her husband’s larger, louder individuality. This can seem to be like a failure of creativity on the portion of the filmmakers, who depict her more as the item of Henry’s desire, jealousy and resentment instead than as a innovative force in her own correct. She has additional in popular with the Cotillard characters in “Public Enemies” and “Inception” than the ones in “Rust and Bone” or “La Vie en Rose.”

That imbalance turns out to be vital to this film’s indictment of the cruelty that is excused in the title of genius, its unsparing dissection of male entitlement. This is a lot less a adore tale than a monster motion picture, about a person incapable of greedy the entire truth of other people today, which includes his own wife and youngster. (The “not all men” objection is embodied by Simon Helberg, actively playing a conductor who is Henry’s sometime rival for Ann’s affection.) The outcomes are deadly, and the final reckoning is as devastating as everything I’ve noticed in a new movie, musical or not.

Driver, some of whose finest roles to day have been as troubled men of the theater (see also “Girls” and “Marriage Story”), does not squander electrical power in seeking to make Henry likable or in overselling his villainy. Alternatively, he’s entirely plausible, not because you understand Henry’s psychological makeup, but exactly due to the fact you can’t. His megalomania distorts all the things. He’s not larger sized than life, but he thinks he is, and Driver’s performance is flawlessly scaled to that contradiction.

“Annette” masters its individual paradoxes. It is a extremely cerebral, formally complex movie about unbridled emotion. A function of art propelled by a skepticism about where art will come from and why we price it the way we do. A fantastical film that assaults some of our culture’s most cherished fantasies. Completely unreal and absolutely truthful.

Rated R for Sturm und Drang. Managing time: 2 hour 19 minutes. In theaters. On Amazon, Aug. 20.