After Jean-Luc Godard, Leos Carax is probably the French filmmaker most associated with the term enfant terrible. In some ways, he’s been even more terrible than Godard ever was, adopting a pseudonym (he was born Alex Dupont) as a teenager and bursting onto the scene at age 24 with Boy Meets Girl — Godard made Breathless when he was 30 — which immediately turned him into a major young auteur to be reckoned with.

He followed that up with the powerful, AIDS-inspired Mauvais Sang, and then made The Lovers on the Bridge, a film infamous for being a French Heaven’s Gate that went way over budget and flopped (it’s still a fantastic movie). After that Carax disappeared for a while, then reemerged to make a few shorts, compose pop songs and shoot a new feature every decade, the last one being the Adam Driver-Marion Cotillard starrer, Annette.

His latest work, the medium-length, autobiographical collage It’s Not Me (C’est pas moi), is both that of an enfant terrible and a true-blooded Godard disciple. It mimics, or pays homage to, the late Franco-Swiss director’s montage films like Histoire(s) du cinéma and The Image Book, using the same colorful on-screen titles that JLG once used to comment on footage both old and new.

That footage was assembled by Carax for an exhibition meant to happen at the Pompidou Center a few years ago, but still yet to take place. (Back in 2006, Godard was asked to do his own show at the same museum, then abandoned it due to “artistic, financial and technical difficulties,” only to replace it several months later with what was best described as a “non-exhibition.“)

In preparation for the show, the organizers ask Carax a simple question: Who are you? The answer, according to It’s Not Me, it that he’s everything from silent movies to Hollywood Golden Age classics to scenes from his own work. He’s also the music of Nina Simone and David Bowie and The Fall, as well as Ravel and Beethoven. He’s Monsieur Merde (Mister Shit), a raving alter-ego played by Denis Lavant, who’s starred in nearly all of his films. And he’s above all a person who defines himself through the cinema, whether it’s the movies he loves or those he’s made throughout his turbulent career.

People unfamiliar with Carax’s oeuvre will likely be lost here, while fans and cinephiles will find a hearty meal to feast on. It’s Not Me is chock-full of references and influences, from F.W. Murnau to Jean Vigo to Godard himself, whose trembling voice is heard on a voice message he once left the director.

There are also scenes featuring Carax’s real family, including his daughter, the actress Nastya Golubeva Carax, whom we see skipping along the Seine in old cell phone footage, then marvelously playing piano in a scene illuminated by candles. The auteur himself appears a few times as well: at the very start, where he’s lying on something like his deathbed, and later walking through the Buttes-Chaumont park accompanied by Monsieur Merde, who gleefully runs down a hill and defecates in a bush.

The film jumps around so quickly that it’s sometimes hard to follow the director’s lead. At other moments Carax more succinctly expresses his views, such as in a rapid-fire montage of world leaders that groups together Putin, Trump, Kim Jong-il and Benjamin Netanyahu. Another scene provides a brief history of Roman Polanski’s tumultuous and controversial life, in what seems like a plea for his defense.

While Carax’s movies have never been overtly political or historical, this one makes several references to Hitler and the Nazis. In one sequence, the director cuts in footage of Isadore Greenbaum, the Jewish plumber who tried to interrupt a pro-Nazi rally held at Madison Square Garden in 1939. In a later scene staged by Carax — and shot by cinematographer Caroline Champetier, the DP of Holy Motors — a mother sits beside her children in bed, eerily reading a bedtime story that describes the Final Solution.

Again, it’s a hearty meal, and also a condensed one at only 40 minutes. The auteur seems to be squeezing everything he can into a personal manifesto in which cinema, history and real life become interchangeable, and in which he tries to situate his work within film’s larger trajectory. The most telling evidence of this is a sequence which cuts from Eadweard Muybridge’s pioneering photos of a horse in movement to a tracking shot of Lavant gloriously running and dancing down a Paris street in Mauvais Sang.

At such moments, it’s clear that Carax has not only reserved his own place in cinema’s trajectory, but that his films remain instantly recognizable through their romantic exuberance and visual splendor, their dark humor and existential gloom. These traits may not describe who Carax is or wants to be — if one is to believe that his latest movie is not, in fact, him (c’est pas moi). But they’re what we know and love about a great filmmaker, and still very much an enfant terrible at age 63, who’s always put the whole of himself into his work.

With the years-long success of series like “Project Runway” and “America’s Next Top Model,” fashion competition reality TV shows are nothing new. But “OMG Fashun” is a different type of series ripe for short attention spans and a style-savvy generation more attuned to the concerns about the environment.

“There’s so many awful things happening in the world,” says Julia Fox, the show’s co-host, over the phone from New Mexico, where she’s in production for a movie. “And this isn’t one of them.”

“OMG Fashun,” which premiered May 6 on E! and airs weekly at 9 p.m. Pacific, is a thrilling reality competition series hosted by Fox, fashion’s “It” girl and cultural renegade, and celebrity stylist Law Roach. The show brings sustainable fashion to the forefront with quickfire competitions and a rotation of guest judges that includes Phaedra Parks of “Real Housewives” fame, “13 Reasons Why” star Tommy Dorfman and more.

But “OMG Fashun” opts for snackable episodes primed for the TikTok generation — roughly 20 minutes each — that feature three rising “fashion disruptors” competing in two separate challenges. The catch? They’re encouraged to use sustainable, upcycled — and often — unconventional materials like insects and condoms. It’s chaotic — and that’s the point.

Behind the series is Scout Productions, known for reality shows like “Queer Eye,” “Legendary” and “The Gentle Art of Swedish Death Cleaning,” a company with decades of experience in the reality competition space. After producing the two-season streetwear competition series “The Hype,” Scout Productions co-founder David Collins and Chief Creative Officer Rob Eric were asked by their agent if they wanted to chat with Fox. A 15-minute conversation turned into an hour-long one.

“She brought this originality to how we look at fashion, how we look at ourselves in fashion, what fashion actually is,” Eric says in an interview alongside Collins over Zoom. “That it doesn’t need to be a $40,000 outfit, but it actually could be leaves that she found in a park.” That sparked the idea for “OMG Fashun.” He added, “We thought, ‘Oh, what would it be like if we could take 90 minutes of ‘Project Runway,’ mix with ‘The Hype’ chopped into it, and put it into a 21-minute show?’

Eric and Collins, who executive produced the series, were in constant awe of how Fox, 34, made her mark in the fashion world with an unwavering sense of authenticity. “She wore a dress made of condoms. She wore a dress made of ties. All [the] sustainable stuff that she was doing, and it kept getting put into TMZ, WWD and Elle magazine. We knew that Julia had that voice,” Eric says.

Reality TV came naturally for Fox, whose prior credits have been in film. After all, she’s used to doing “new stuff.” However, it was admittedly “more work than acting” for her because whole episodes had to be shot in a day.

“It was a lot of outfit changes, a lot of time in hair and makeup, super early call time, ending super late at night,” she says.

But Fox seemingly made it look easy. Collins says everyone was “slack-jawed” from the second she sat down on the stage despite never having starred on a TV show before. “We’re like, ‘What? We’re not having to prompt her, tell her, and remind her?’ She just killed it over, over and over again,” he says.

Roach, 45, who was recruited by Scout Productions after working on “Legendary,” was intrigued by the premise of “OMG Fashun” — highlighting emerging designers and sustainability. Fox also had wanted to work with the stylist for a while. “We both had admiration for each other’s work and the things that she wore. I think her stylist is incredible,” he says over the phone from Los Angeles.

The pair ultimately had a “fun” dynamic, he says, since Fox “doesn’t take herself seriously at all.”

“She gave me so much agency to poke fun at her and she did the same to me,” Roach says. “She’d create this really fun and friendly and kooky work environment, so it was great. It made me excited to go to work every day and to see what she was going to wear because we didn’t share outfits.”

Julia Fox modeling a design on “OMG Fashun.”

(Quantrell Colbert/E! Entertainment)

While Fox and Roach had fun with their roles on the show, the talent was nothing to mock. “These young designers had these incredible gifts and ideas of how to take discarded materials and turn them into wearable works of art,” he says.

So “OMG Fashun” doesn’t just want to be another fashion show. “We’ve seen other shows that have a component where there’s a challenge where they’re instructed to create a garment out of recycled materials or upcycling or discarded fabrics,” Roach says. “But this one, the entire show is based on that principle.”

Fox often struggled to choose a winner because she was in such awe of the designers’ talents. In the nature challenge, for instance, she had to stop filming because she couldn’t decide between the contestants. Luckily, Fox is keen on wearing their designs whether they take home the top prize or not on “OMG Fashun.” “I did wear one of the outfits [from the show] during the press tour — the little black blazer with the underwear bottoms with the metal utensils on them, nail clippers, nail files and forks,” she said. She’s also kept in touch with many of the contestants too.

Amid the release of “OMG Fashun,” Roach made headlines for the “tenniscore” ensembles he helped architect for Zendaya and the hashtag he started — #TashiMadeMeWearIt — amid the “Challengers” press tour.

“Just to see people participate in tenniscore and going out in groups and dressing in this way, that’s the most heartwarming and incredible thing. I’m like, ‘This might be cool to give people this challenge to go out and to create these looks,’ he says.

Fox also admired how Zendaya’s looks were playful nods to the film and its themes. “It was definitely giving ‘OMG Fashun’ for sure,” she says.

With Fox’s presence on “OMG Fashun” and her affinity for daring looks, is a fashion line in her future? Not exactly.

“OMG Fashun” contestants Katya Lee, Chelsea Billingsley and Bradley Callahan.

(Quantrell Colbert/E! Entertainment)

“Is that really what this planet needs — another fashion line? Like, I’d rather prop up kids that are doing it and salute them for their efforts and call it a day,” she says. Fox also would rather rely on someone else’s talents: “Why would I want to do it myself when I could have someone else do it for me?”

Should “OMG Fashun” get another season, the co-hosts already know who they’d love to see as guest judges. Roach wants John Galliano, Grace Jones, Naomi Campbell or RuPaul on. Fox, on the other hand, wants to recruit Doja Cat, Dennis Rodman, Gwen Stefani or Lil’ Kim. “I love accidental-like fashion icons,” she says. “People that didn’t really set out or try but became [them].”

Ultimately, the hope is that viewers watching will shift their perspective on fashion. Fox wants people to “dig a little deeper” and “look inward.”

Roach adds, “We’ve gotten into this culture of once you have something, you post it on social media that it has to be discarded, you can never wear it again. I challenge people to reinvent the clothes that they already have and the way they’ve worn them. If you like it, buy it. If you love it, live in it.”

2.5/5 stars

Black Dog begins with all the trappings of a revenge Western. Set in a godforsaken town where bad guys roam around with impunity, it revolves around a reticent man returning home after a decade-long absence to confront his sworn enemies.

It also seems to have everything in place for a political allegory. Juxtaposing images of crumbling tenements with incessant radio news bulletins about the Beijing Olympics, the story, set in 2008, could offer commentary about the clash of reality and dreams in 21st century China.

As it turns out, Guan Hu’s film is neither. From the big bang of its first half-hour, Black Dog is slowly reduced to a whimper, as what was set up to be a hard-boiled genre film turns into a sentimental relationship drama about a wayward man’s attempt to connect with his family, friends, foes and his new four-legged buddy.

Settling into his long-abandoned home, his past returns to haunt him in the form of the local butcher, who accused Lang of having caused his nephew’s death.

But the bad guy in town is Yao (Jia Zhangke), the chain-smoking leader of a bunch of “dog management officers” who capture strays and steal pets in order to resell them elsewhere for a profit.

Lang joins Yao to earn some hard cash, only to find his humanity flickering back to life when he forms a bond with a raging, rabies-stricken hound. This inspires him to reconcile with his adversaries, his ailing zoo-master father and his younger self.

While there’s nothing wrong with Guan’s decision to steer a fatalistic tale towards a happy ending, the change of tone does Peng few favours, as he is forced to reprise the kind of gawky man-child role he has been typecast in for just too long.

Meanwhile, the flood of positive energy in the second half of the film renders its remarkable set design evoking doom and gloom irrelevant. The same can be said even of apparently important characters: Dong Liya’s circus acrobat, for example, is left with nothing to do as the prospect of forming a relationship with Lang evaporates.

The canines are cute, though – and for some, perhaps, that is Black Dog’s main draw.