Annette

For those on the same wavelength, Annette is an audacious genre-bending collection of peculiarities that’s intoxicating even when you don’t completely understand how all the pieces fit together.

Other moviegoers might become frustrated with the persistent esoteric quirks in this defiantly offbeat musical from French provocateur Leos Carax (Holy Motors), which borders on pretentious in both a visual and narrative sense.

Layered with wry self-awareness, this mix of celebrity satire and romantic tragedy benefits from stylistic flourishes and a deeply committed portrayal by Adam Driver, who brings emotional depth to material that could otherwise feel cold and detached.

Driver plays Henry, a fledgling stand-up comedian in Los Angeles whose mumbling, misanthropic stage presence comes off as some sort of tortured performance art. Off stage, he marries Ann (Marion Cotillard), a famous and talented opera singer.

At first they shrug off the paparazzi attention, and Ann gives birth to a baby girl, Annette, who possesses unique gifts that challenge the couple in unexpected ways, as parents and performers.

Much of the dialogue is sung, with on-the-nose descriptive lyrics. “We love each other very much,” Henry and Ann harmonize while copulating. That’s before the film evolves into a darker and more disturbing examination of obsession, jealousy, and betrayal.

Then there’s the titular toddler, who’s downright creepy in almost every scene for reasons that can’t be revealed.

Structured like a stage production yet visually more sprawling and ambitious, the film was developed by siblings Ron and Russell Mael, collectively known as the band Sparks. It’s a worthwhile showcase for their quirky creative vision that has given the duo — who pop up in multiple cameos here — a cult following for decades.

After the release of this longtime passion project, combined with Edgar Wright’s documentary tribute released just weeks earlier, the band could generate some new fans, though you wonder if they’d care.

The contrast in vocal dexterity between the two stars is no doubt intentional and effective. Cotillard, of course, is still best known for her Oscar-winning performance in La Vie en Rose.

As for Annette, it’s obviously an acquired taste. Even if it’s too long and doesn’t always work on a grand operatic scale as intended, you have to admire the conviction to realize its bold and somewhat twisted vision.

Rated R, 139 minutes.