Vox Lux Apr 2026

is where Corbet intentionally loses many viewers. Celeste (now played by Natalie Portman with a brutal, unhinged Staten Island accent) is a global pop star on the eve of a comeback concert. She’s also a mess: recovering from spinal surgery, fighting with her sister/manager (a superb Jude Law), and raising a daughter who seems to be a clone of her worst traits.

Vox Lux is a fascinating failure for some, a visionary masterpiece for others. It asks: What if a trauma survivor became a monster, and we all bought tickets? It doesn’t offer answers, just a glittery, screaming void. See it for Raffey Cassidy’s dual performance (she also plays Celeste’s daughter in Act II) and Portman’s fearless commitment. Just don’t expect to feel good about pop music ever again. Vox Lux

The film is split into two distinct acts. is devastatingly raw. We meet teenage Celeste (Raffey Cassidy) as she survives a school shooting. At a memorial, she sings a haunting original song, and the world mistakes her trauma for talent. Suddenly, she’s not a victim; she’s a product. This first hour is gripping, uncomfortable, and features some of the best child acting in years. is where Corbet intentionally loses many viewers

★★½ (2.5/4) Recommended if you like: Requiem for a Dream, The Idol (but good), crying in the club. Vox Lux is a fascinating failure for some,

Watching Vox Lux feels like standing too close to a speaker at a stadium pop concert: it’s loud, disorienting, occasionally brilliant, and ultimately numbing. Brady Corbet’s operatic tragedy isn’t really a music biopic. It’s a horror film about the birth of modern fame—specifically, the kind of fame that eats its young and spits out a hollowed, sequined shell.