Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
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,…
Right up there with David Lynch’s Eraserhead, Holy Motors has got to be one of the weirdest, most baffling and strangely hypnotic films I’ve watched. This might be occasionally frustrating to watch and it can test your patience, but Leos Carax’s ode to cinema is admirable. The film itself could be seen as a representation of how movies came to be, starting from the silent era, going to dramas, musicals and even science-fiction in a way. It’s all about the love for the medium and it definitely shows here with the many film references and appreciation towards the craft of acting.
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!
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…
An amazingly mind boggling film. I actually quite liked it because I literally couldn't guess what was going to happen at any time during the whole thing. People who watch a lot of films get weary of the
A minstral show for the arthouse audience. Why no blackface, Leos?
Oops, I did it again. This time, I was reminded of how achingly personal it is, in addition to being stupendous.
If only Ronnie James Dio lived for another two years so he would have been given a chance to transform his CLASSSSSIC jam "Holy Diver" into the theme song to Holy Motors.
Eh, well, the movie is pretty weird as it is...
The film of the decade thus far. A potent brew of madness, invention, reinvention, cinema-loving, and melancholy.
What the heck did I just watch??? A mystifying and emotion stirring ride.
This review reportedly contains spoilers. I can handle the truth.
- Only God Forgives
- Fear and Loathing in Las Vegas
- Spring Breakers
- A Field in England
- Under the Skin
- Tropical Malady
- Uncle Boonmee Who Can Recall His Past Lives
- Inland Empire
Many favorites, as well as a small handful of films that I don't care for... in no particular order (1960-2014).
- The Captive
- Clouds of Sils Maria
- Goodbye to Language 3D
- The Homesman
Originally a list made prior to Cannes 2014.
This is every Palme d'Or nominee since the festival began in 1946.…