With “The Neon Demon,” director Nicolas Winding Refn seems to have come to the end of a trilogy that began with “Drive” (2011) and continued through “Only God Forgives” (2013). The idea seems to be to take genre-flick styles — car action, revenge and horror — and unravel them to the point where they become pure sensation, almost abstractions.

“Drive” was more of a “normal” film, but even so, it was less about its Hollywood stuntman-by-day, getaway-car driver-by-night story than about the reverie of motoring through Los Angeles at night in a blur of shimmering neon and chrome to the sound of super-cool synthwave. “Only God Forgives” looked like a dive into Bangkok’s fight-club and go-go bar underground, but played out like a trippy internal exploration of the Oedipal urge, with star Ryan Gosling lost in its womb-like maze of red corridors.

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