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.
Holy Motors was just something I was not interested to watch.
Even though, I admit that photography was good and performances were too.
Ok, so can someone tell me where to even begin with this one, like at all.
A man goes around performs as several different characters through the day, from hitmen and their victims, to old women beggars on the street. From dying elderly men to hideous creatures. Its a complete assault on common sense, and a part of me didn't have the patients for it until past the hour mark.
Is the film about life being a performance? That everyone acts as they should in social situations that actors could simply replace them to get something closer to "reality". Is it that this mode of filmmaking is becoming more and more redundant? That real invention and innovation is lacking in…
"Holy Motors" is the rare masterpiece that can show incapsulate ocean-deep emotion, but also create a surrealism piece that takes 20+ viewings to fully comprehend. Complete with a beautiful soundtrack exceptional direction, vivid cinematography, and a wonderful leading performance from Denis Lavant, this is Director Leos Carax's magnum opus.
Dad: "What are you watching?"
Me: "A French movie called "Holy Motors.""
Dad: "What's it about?"
Me: "I'm not really sure yet."
*Two people in motion capture suits start 69ing*
Dad: "Let me know how it goes."
idk what this was about but eva mendes is so hot and accordion music goes off
I enjoyed the fuck out of this movie even if I was asking "what the fuck?" the whole way through. I don't understand it but I think that's ok. It was visually interesting and I never knew what I would see next and that was exciting. I completely loved some of the strange scenes that make up the movie. The mo-cap scene, driving the young girl home, the doppleganger murders, Beauty and the Beast. Fuck this was something else.
If I want to give more meaning to the movie as a whole I'd have to rewatch it a couple times I'm sure. But that's fine because it was fucking great.
Wonderfully oddball film that doesn’t quite pull off what it aims for. Or what I think it aims for, which is something of a parable of the role of the actor in the modern world. Surreal in the most positive sense, this is a gorgeously imaginative film that is mostly a showcase for the fantastic Denis Lavant. Recommended for the adventurous.
The best kind of "what the fuck" Film making. I took it as a film about reincarnation, but honestly that's just a guess. Very surreal
Huh? Plays like the weirdest anthology, or a somewhat standard collection of eclectic shorts. I'm going to read about this for at least as long as it took to watch it to figure out what I was supposed to pull from that.
Great interlude though.
Many favorites, as well as a small handful of films that I don't care for... in no particular order (1960-2014).
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…