Vox Lux describes itself as “a 21st century portrait” in its credits, but I’m still unable to decide if that is a portrait of its pop diva protagonist, fame or of our entire society. It is a film that manages to feel entirely superficial and shallow at the same time as it seems to be casting its net wider to discuss the human nature of the world we currently live in.

Beginning in 1999 it starts with a brutal school shooting. One of the survivors of the shooting is 13 year old Celeste (Raffey Cassidy) who suffers a spinal injury leaving her in the hospital for many weeks. Whilst there she passes time with her sister Eleanor (Stacy Martin) and they play on their keyboard culminating in them singing an original song at a vigil that captures the mood of the nation. Celeste is quickly signed by a manager (Jude Law) and her career is manufactured and appears to launch in the wake of 9/11.

The film is told in chapters and is narrated by Willem Defoe in an incredibly deadpan style. Delivering sensational information in a manner that is almost dismissive or derisory. The first half and two parts of the film take place in 1999 to 2001 and then with a jolt we are catapulted to 2017. Here Natalie Portman takes over the role of Celeste with Raffey Cassidy now playing her daughter. But where the opening half had a pure teenage girl making her way into a new career the second half has a neurotic, substance abusing wreck trying to relaunch her career. Something made more difficult by a group of terrorists using masks made famous in Celeste’s debut music video from 2001.

Celeste’s entire career seems forged and launched on violence that gave her notoriety. Her fame only seems to have brought her difficulties. Yet she appears to be one of the biggest stars in the world. The parallels with last years A Star is Born are striking. With Lady Gaga’s Ally an idealistic approach was taken, where as Portman’s Celeste is much bleaker.

All the performances are as equally bold as the film. Cassidy does a great job as two similar but different teenage girls. Law is very interesting as a manager that seems seedy but doesn’t necessarily act like it, although the last shot of him is uniquely framed. Portman meanwhile goes all in. Her dedication to being a pop diva is exemplary.

Certainly the first half of the film feels stronger, but in the main that is because the whiplash of seeing Portman’s irrevocably changed Celeste throws you off kilter.

Writer/Director Brady Corbet is only 30 years old and this is only his second film in those roles after a career as an actor. It seems striking that someone so young could have such a bleak outlook but this film certainly marks him as one to watch.

Vox Lux is currently on a very limited cinema release in the UK at Curzon cinemas. It is also available on Curzon’s home cinema streaming platform for a rental fee of £10 for 48 hours.