In his wildly experimental, postmodern “Scott Pilgrim vs. the World,” Edgar Wright sought to shake up the grammar of filmic storytelling, borrowing techniques from the hand-drawn source material.
Flirting with the inversion of it all over the course of a meandering black-and-white drama that marries the weightlessness of “Manhattan” with the serendipity of “Chungking Express,” Audiard traces a brave new world in which youngish people struggle to build meaningful relationships from connections that are founded upon quicksand.