Vox Lux


  • Original title: Vox Lux
  • Director: Brady Corbet
  • Release year: 2018
  • Original language: English


The sequence at the early start of Vox Lux is one unfortunately too familiar. One disturbed student enters a classroom with a gun in hand and nothing but hatred in mind. One of the bullets fired on the day lodged itself in the spine of young Celeste, who was turned into a symbol for the grieving community. Her voice, in the form of a touching song, sends the girl into the eye of the media hurricane. A beat later and Celeste has an agent and a record label, travelling around the world with her older sister, carefully planning every step of her then early career.

Jon S. Baird and the importance of the final scene


At first glance, there are not many similarities between the last two features directed by Scottish filmmaker Jon S. Baird. Whilst 2013’s adaptation of Irvine Welsh’s Filth thrives on its ability to turn one’s stomach, 2018’s biopic Stan and Ollie is a sweet ode to the iconic duo Laurel and Hardy.

Their one – and strongest – similarity is the beauty of their final scenes. Baird skillfully approaches the concept of finality in two drastically different but equally effective ways. The final moments of Filth see Bruce “Robbo” Robertson about to end his life. Seconds before he lets go of his body towards hanging from the ceiling, he spots a glimpse of a new future in the shape of the silhouette of a woman whose deceased husband he tried to save. Her shadow, accompanied by her infant son, disappears from the semi-transparent doors as we all see Bruce’s neck snap, suddenly ending his twisted, painful existence. The lesson here could not be any clearer: there are no happy endings and love is a bittersweet illusion, not salvation.