In an edition of the Cannes Film Festival where, despite rumors, we finally haven't had a new film by Lars von Trier, the quota of extreme cinema that infuriates a good part of the press has been well covered by another Danish director who usually provokes as much indignation as enthusiasm: Nicolas Winding Refn has presented outside of competition the magnificent Her private hell, a further step in the path that increasingly distances him from conventional narrative cinema and from directing another Drive. The film is a freefall that takes to the extreme the aesthetic approach to the horror tale from the previous the previous The neon demon, with an even thinner plot and hieratic to operatic performances. After seeing what will surely be one of the most radical films of the festival, it is better understood why Thierry Frémaux did not feel he had the courage to program it in the official competition.