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,…
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.
Over a year later, I've concluded that Holy Motors is just weird for the sake of being weird, and not really worth recommending (apart from this one incredible scene: www.youtube.com/watch?v=lR9ktdI4LFM). Sure the film has enough bizarre imagery and cheeky humour to whet the appetites of art house cinephiles, but the plot has neither coherence nor context.
Many people hate but I love this batshit crazy film
What a feast for eyes and mind this fantasy drama is. French and Germans made a wonderful work of art, written and directed by Leos Carax, starring Denis Lavant and Édith Scob. After so many years without making movies (it is Carax's first feature film since 1999) this director went to compete for the Palme d'Or at the 2012 Cannes Film Festival. It is really petty that prior to the production of Holy Motors, Leos Carax had for five years tried to fund a big English-language film but financiers were reluctant to invest! And now I'm glad that happened!
That's how we got this moving art which initial concept started with a trend Carax had observed where stretch limousines were…
I'm going to need a few days... but I'm pretty sure this is brilliant.
Αυτη η ταινία είχε μια πολυ καλή ιδέα για σενάριο ,αλλά σκηνοθετικά δεν με κάλυψε, είναι σαν αυτό που λέμε...η εγχείρηση πέτυχε αλλα ο ασθενής απεβίωσε.
Well, I can't really say anything about this movie that doesn't sound shallow. "it's bizarre and unpredictable" -> "You don't get it. It's a metaphor for X".
And frankly, I am pretty shallow. I like the mood it sets, I like how dynamic it is, and I liked being taken along for the bizarre ride it was. Yeah.
Deeply abstract yet deeply personal, the film is first noted for its raging ingenuity and witty absurdism and second for its dreamy meditations on identity, purpose, and death. It's as if Kafka and Fellini had a baby.
Η ταινία είναι ο ορισμός του σινεμά αλλά τώρα που έχω δει και τις υπόλοιπες του Carax καταλαβαίνω ότι είναι επίσης και αυτή με το λιγότερο συναίσθημα. Παραμένει ένα αριστούργημα ωστόσο και ο Lavant δίνει την ερμηνεία (ή τις ερμηνείες) της ζωής του.
- 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
- The Homesman
Originally a list made prior to Cannes 2014.
This is every Palme d'Or nominee since the festival began in 1946.…