The best that cinema has had to offer since 2000 as picked by 177 film critics from around the world.…
From dawn to dusk, a few hours in the shadowy life of a mystic man named Monsieur Oscar.
We follow 24 hours in the life of a being moving from life to life like a cold and solitary assassin moving from hit to hit. In each of these interwoven lives, the being possesses an entirely distinct identity: sometimes a man, sometimes a woman, sometimes youthful, sometimes old. By turns murderer, beggar, company chairman, monstrous creature, worker, family man.
Holy Motors, the critics darling of 2012, is as strange, befuddling and pretentious as the gushing reviews suggested it would be. Leos Carax’ first feature film in over a decade is a willfully odd odyssey; a picaresque story of cinema itself and an ode to performance. The committed, certifiable and chameleon-like Denis Lavant plays Mr. Oscar, a man who travels around Paris in a limousine transforming himself into a range of strikingly different characters for reasons left largely up to the audience to decide.
It is a film made for, and by, a particular type of film fan; one steeped in the history of film who enjoys partaking in a game of spot the movie reference. It’s an indulgent, self-satisfied…
To say that Holy Motors has been praised would be the understatement of the century. It has been discussed and interpreted more than probably any other movie this year. Furthermore, seemingly every major critic loves it. It has a 90% on Rotten Tomatoes, an 84 on Metacritic, and my boy Film Crit Hulk placed it at the very top of his 2012 list, ahead of Django Unchained, The Master, Looper, and several other terrific titles. However, there's something none of those critics will tell you, and I'm here to give it to you straight: the key to understanding Holy Motors is knowing that Holy Motors SUCKS.
Now, before you prejudge this as another Cosmopolis-style "Dear Fuckers" letter, hear me out,…
A film that, needless to say, has a number of correct subjective interpretations directly proportional to the amount of viewers that saw it with a high attention span and an open mind, in my humble opinion, can be more easily dissected if:
I. It is seen passively.
“I'd rather people feel a film before understanding it."
- Robert Bresson
“We think too much and feel too little."
- Charles Chaplin.
Some things do not have to make sense. The mind can reast peacefully at night if it was not capable of rationalizing all stimula in one day, even if it seems impossible to several people. Some things just deserve to be felt.
II. The "appointments" topic is taken as the…
Q1. Was this art over substance?
Q2. Was there a point?
Q3. What genre is it?
Q4. Did I like it?
Q5. Did I hate it?
A1-5. I honestly don't fucking know!
Within an individual life, and perhaps in sequential ones, we are incarnated not one but many times, taking on the roles that we are given or aspire to, performing them to the best of our abilities, succeeding sometimes, failing others, oftentimes just getting by. If you could prepare or hone a gift for sudden improvisation that would undoubtedly help, as would having a stretch limousine dressing room piloted by an expert chauffeur (Edith Scob!!! In a role which connects directly to her ***** performance in Eyes Without A Face, the film of films whose presence more than any other's lingers or hovers like a ghost or an angel over Holy Motors) and filled with endless theatrical props, makeup mirror and…
This almost feels like a surreal version of the Mediaeval play Everyman. In that play Everyman (representing Man) meets up with a host of allegorical characters representing Life. Through these encounters Everyman learns how to reach salvation, thus completing Life's circle.
If I proceed in this train if thought, Lavant's Oscar is all those allegorical characters rolled up into one creature, a physical manifestation of life, showing us, the Everyman, the state of affairs. And apparently Life is getting old. It is having great difficulty dealing with the rapid, shallow progress we are making and basically has increasing difficulty providing us with our overly demanding urges. Life's own cycle seems to be running towards its end, heading towards its own…
Pretty bizarre....almost like a series of surreal short films, most of them kinda disturbing in some way. Plenty of creativity on display, and loads of interesting imagery, but I dunno how well it worked as a whole. I didn't love it, but at least it's different and it goes for broke, plus some of the scenes were really cool....that accordion jam was amazing.
One of the most creative films I've ever seen. Visually it is very stunning but what I think I liked most about it was a refusal to sit in one category. Seriously. This film could be catagorized as at least seven different genres depending on which section of the film you look at. But tying it all together is 1) the god-level performance of Denis Lavant and 2) the mystery surrounding "what the hell is going on in this film."
This review may contain spoilers. I can handle the truth.
So i went into this film knowing basically NOTHING.
Back in 2012/13 all I heard was that it was good, I didn't look at any promotional material so at best I figured it was some kind of drama film that had good acting and cinematography?
I went years not hearing ANY details about this film and then Kyle Kallgren did a brows held high video and I got a few seconds into that before he got me interested by just bringing up the opening shot alone and suggesting that viewers literally stop what they are doing and watch it before continuing his review.
I had the evening free so: why not?
This film felt like being a kid and flicking…
If anyone you know ever says that experimental film should be wholly serious, humorless, overlong, and dull, then please slap them repeatedly with a DVD of Holy Motors until they can no longer feel their face. It's probably not going to make a difference and will most likely lead to them hating your guts, but at least it'll be fun to watch.
Accordions for life, baby.
Overly bizarre, visually mesmerising & ambiguous French drama.
"Your punishment is to be you. To have to live with yourself"
Oh great. Yet another film where a guy bites off a PA's fingers then licks Eva Mendes' armpit before eating her money and hair.
The motion capture scene by itself is enough reason to see this, as it is the most visually stimulating scene I have seen in some time.
Very weird and very cool.