It’s the final night of tour. SoFi Stadium, just outside Los Angeles, is packed. Thousands of fans stand before the Weeknd. The bestselling artist born Abel Tesfaye emerges onstage. He launches into the first song. Less than a minute goes by, and the unthinkable happens: His voice cracks. And then it is gone.

That September night in 2022 marked a turning point for Tesfaye. He mines the scene in “Hurry Up Tomorrow,” where, ironically, it arrives too late. The tedium of an incoherent first act paints the charismatic performer — one of the last few decades’ most popular — as an unempathetic protagonist in a nonsensical world.

In his first leading role in a feature film, directed by Trey Edward Shults, Tesfaye plays a fictionalized version of himself, an insomniac musician (as made explicitly clear in the “Wake Me Up” leitmotif, where he sings, “Sun is never rising/ I don’t know if it’s day or night”). He’s marred by a recent breakup from an ex portrayed in a cruel voicemail message and a hedonistic lifestyle, instigated by his superficial friend-manager Lee (Barry Keoghan).

Shortly after Tesfaye loses his voice, a psychosomatic ailment, he meets superfan Amina (Jenna Ortega). She offers temporary comfort and, in return, is afforded no agency. She exists for him. Soon, the uninspired horrors begin, culminating in what recalls the torture scene in “Reservoir Dogs” with less violence. Instead, Amina lip- syncs some of the Weeknd’s biggest hits back to him, explaining that they’re all about “emptiness and heartbreak.” Woven throughout is some conversation about absent fathers and fear of abandonment, with unearned delivery and first-draft acuity — something gesturing at depth without piercing the surface.

According to media materials, Amina and Lee are not real people but representations of Tesfaye. She is meant to represent Tesfaye’s disconnected, “deeper emotional self” — and Lee, his public persona. That is not made clear in the film, except in a generous reading of the ending. Subtext only works when there is context to back it up, otherwise, you are left with “Hurry Up Tomorrow”: an exciting vanity project with surrealist imagination but stiff writing, no stakes, limited emotional weight and an unclear narrative.

That won’t be an issue for those intimately familiar with the Weeknd’s music and career. This film appears to be for them and Tesfaye alone; they have the framework in which to enjoy the runtime.

This is not Tesfaye’s first foray into acting. Aside from his cameo in “Uncut Gems,” he starred in HBO’s 2023 series “The Idol.” He co-created the show with Sam Levinson, a show that similarly presented unearned provocation. At the time, “The Idol” received criticism for its sadomasochistic storytelling that emerged after a shift away from “the female perspective,” allegedly a request from Tesfaye. It was not a clever show, nor was it really about anything, but it did inspire conversation. It’s easy to see how “Hurry Up Tomorrow” may have similar effects.

In a moment where autobiographical films about musicians are playful and creative — Pharrell Williams’ Lego partnership “Piece by Piece” comes to mind, as does Robbie Williams’ “Better Man” — “Hurry Up Tomorrow” feels like a misstep for those outside the Weeknd’s most devoted.

Of course, the film does not identify as a biopic. But it could’ve benefited from less self- seriousness. And editing.

MPA rating: R (for language throughout, drug use, some bloody violence and brief nudity)

Running time: 1:45

How to watch: In theaters