not like stupid/dull, but as in movies that are so insanely packed with things and ideas and visuals they become…
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!
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…
Thesis - The movie is an ode to the human body as the most cinematic of objects.
1. The old video that starts the film.
2. The scene trumpeting the humans performing mo cap over the final product itself.
3. An array of physically showy performances - ogre, beggar, killer, musician, singer, grumpy father.
The "Holy Motors" of the title and conclusion, then, is a metaphor for the engine that makes cinema hum - the human body. Carax asks that in our rush to the next cinematic object, we not fall out of love with the original cinematic object.
For the entr'acte alone
Best film of 2012. Now let's play accordion covers of RL Burnside.
Holy Motors è una riflessione sul mestiere dell'attore non solo nell'arte, ma anche nella vita. Ipnotico, ma francamente troppo concettuale.
Leos Carax manages to create an art through "holy" motors, art which is his manifesto to the virtualization of what makes us human and also to the industrialization of cinematrographical art.
'The film is therefore a form of science fiction, in which humans, beasts and machines are on the verge of extinction - “sacred motors” linked together by a common fate and solidarity, slaves to an increasingly virtual world. a world from which visible machines, real experiences and actions are gradually disappearing.' - Leos Carax
Wtf. This felt like it actually went for 24 hours jfc
I haven't been this excited about a movie, even several days after watching it, for a long time.
En una esquina tenemos lo mucho que me gustan las cosas originales y experimentales, las películas ambientales, lo visualmente poderoso.
En la esquina contraria, lo poco que me gustan las cosas autocomplacientes, aleatorias e innecesariamente crípticas.
Ha ganado esto último.
More of an experience than a film, a parade of weird style. Denis Lavant's cuccession of transformations as some sort of bizarre living private actor are all mesmerising and while it's too consciously oddball to be trully enjoyable it's certainly a memorable piece of cinema.
I don't throw around the word "singular" very often but I truly feel that it applies here.
I have no idea why it took me so long to see this.
Movies that are slightly off.
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…