In theaters June 24, 2016.

From Amazon Studios and Broad Green Pictures: When aspiring model Jesse (Elle Fanning) moves to Los Angeles, her youth and vitality are devoured by a group of beauty-obsessed women who will take any means necessary to get what she has.

THE NEON DEMON had its world premiere at the 2016 Cannes Film Festival.

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This transcript has been lightly edited:

The Referee: So, we have exclusive review for you. The Critic got an inside “Sneak Peek” look at the new movie, “The Neon Demon.” Yes, you heard it right: “The Neon Demon,” which comes out June 24, in theaters. Now, this particular movie stars Elle Fanning, Christina Hendricks — “Mad Men” — and, yes, Keanu Reeves, among other amazing actors and actresses. What a trio that is! And, it’s directed by Nicolas Winding Refn, who also wrote it along with Mary Laws and Polly Stenham. Now, this particular movie? … You better hold on, because I have a feeling we’re gonna go for a very interesting ride here.

The Critic: Uh, that’s an understatement. Now, look, everybody: little Elle Fanning … younger sister of Dakota … You open up in this movie with her laying in some sort of chaise lounge, something like that, covered in blood dripping to the floor.

Ref: What?

Critic: But, this is Nicolas Winding Refn, everyone. And he has done “Drive.” If you’ve seen that movie, he directed that.

Ref: Yeah, with Ryan Gosling, right?

Critic: There you go. He directed “Only God Forgives” — also with Ryan Gosling — “Bronson,” the “Pusher” films, “Valhalla Rising,” etc. So, the aesthetic is …

Ref: Yes, very specific.

Critic: Yeah. And it’s not realistic. So, you go: Is this real or not? … You find out she’s at a photo shoot. And, the blood — by the way, Ref — looks like candy.

Ref: Oh. Oh.

Critic: Yeah, that’s the kind of thing. It’s beautifully shot. … So, she’s here; we don’t quite know what’s going on. … But she’s a young and up-and-coming model. So, she ends up getting a manager, getting in front of the best photographers and designers. Her career skyrockets, but she’s living in a motel.

Ref: What?

Critic: Yes, and the motel is managed by Keanu. OK? (laughing)

Ref: (laughing) Of course, it is. Of course, it is.

Critic: Now, along the way, she meets a makeup artist, played by Jena Malone, and two models. And there’s this jealousy/attraction thing going on. It’s not safe.

Ref: Like “BLACK SWAN.”

Critic: Exactly! But, instead of the darkness of “Black Swan,” as far as the aesthetic, you get more COLOR …

Ref: Oh.

Critic: … from Nicolas Winding Refn. And he plays along with that. Are they in the modeling world or not? Is this fantasy or not? So, the question is, everybody: Is she gonna survive under the stares and glares of these people in the industry? Because, these designers and these photographers can’t get enough.

Ref: Mm, she’s an It girl.

Critic: She is THE It girl. Now, let’s get to the performances.

Ref: Yes, please.

Critic: Elle Fanning … wonderfully cast.

Ref: Oh. OK.

Critic: Is she tall enough to be a model? No, but it doesn’t matter …

Ref: Who cares …

Critic: … Yeah, it doesn’t matter. Jena Malone’s character keeps saying, “your skin, oh, your skin,” you know? And you get it, you get it. … Jena Malone, as the makeup artist … You know, I really do like Jena Malone.

Ref: Now, she was in “Pride & Prejudice,” right? And “The Hunger Games”?

Critic: Yes, that’s exactly right, and she can do the nice/nasty really well.

Ref: Yeah, she can.

Critic: Also, you go: How old is Jena Malone? ‘Cause she can play older and younger. It’s a very interesting mix that really works here, as a woman on a mission. Keanu Reeves: It’s hilarious when he first shows up. I mean … (laughing) ‘cause he’s in silhouette. You go: Who is that? Then, it’s Keanu Reeves. Hilarious. Christina Hendricks: perfect as the manager, perfect. She has a scene when she comes out to get a form for Elle to sign, and there are models sitting, waiting for her. She looks at them — turns to her assistant, says, “Get me the form” — looks back, and says, “You. You can leave.” I mean, it’s that kind of thing.

Ref: Oh. OK.

Critic: So, basically, the point is this: Nicolas Winding Refn has casted this wonderfully. The first hour of this movie, it’s beautiful to look at. You’re going: Oh, I don’t even know. Because, he plays around with post-feminism, where you have all of these choices that women should be able to make. But what if they make an anachronistic choice?

Ref: Got you.

Critic: What if Elle Fanning just says, “Look, I know all I have is my looks, and I’m fine using it.” So, it’s this whole dance where you go: Ooh, am I comfortable with this or not? Is he exploiting this or not? And that’s a nice dance for about an hour.

Ref: Oh. OK. I hear it. I smell it. Here it comes.

Critic: Now, Mr. Refn … If you know his work, nothing ends well. (both laughing) So, you know what’s coming. For me, he didn’t have to go as far as he did. The message was clear. And there’s so much in it — in that first hour — that’s great. By the end, I was just kind of like: OK, I’m over it. The spell went away. He had me under his spell. You had me. You had me, Nicolas. But, then, it kinda went away. … It goes there.

Ref: Oh.

Critic: I’m not gonna say what happens, but let’s just say that there’s a transformation to young Elle that ain’t pretty. (laughing)

Ref: OK, well, you know what? This, to me, sounds like … if you’re gonna watch it, watch it with caution. Just be prepared for anything. But you appreciated the beauty of the way that world was portrayed, and you kinda got lost in it. But, it was maybe a little too long?

Critic: Yeah, that’s it. And, to me, “Drive” is still — by far — his best film. His last three films, including this, were screened at Cannes. So, there you go. … This is my suggestion: If you’ve seen “Drive” and you loved it — if you’re brave enough and, you go, “I really want more” — you can see this. Or, just wait for it to come out, if you have a great TV, so you can see all the work that goes on visually and how he plays around with light and dark and color. Also, the music … He always does music well.

Ref: Yeah.

Critic: So, if you’re that kind of person, you like his art — fine. If not, if you haven’t seen “Drive,” I would start there.

Ref: That’s a great suggestion, Critic. Thank you so much.

Critic: Start there, and stay away from “Only God Forgives.” Sorry.

Ref: All right, here we go. Thank you!

Critic: (laughing)