Two years ago, Francis Ford Coppola returned to filmmaking with the small, self-financed “Youth Without Youth,” about an elderly professor who gets younger after being hit by lightning.

While it was exciting to see such a master director striking out on his own and defying Hollywood conventions, the result was laughable in its self-seriousness, and the visuals too often looked cheesy.

His second effort in this same stripped-down vein, “Tetro,” is gorgeous to behold with its lustrous black-and-white and splashes of bold color, but the tone remains pretentious. The air is nearly suffocating with artistic angst and aspirations of Greek tragedy, but the film’s third-act revelations of long-held family secrets seem hollow instead of profound.

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