2012 Directed by Leos Carax
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.
Denis Lavant Edith Scob Eva Mendes Kylie Minogue Élise Lhomeau Jeanne Disson Michel Piccoli Leos Carax Nastya Golubeva Carax Reda Oumouzoune Zlata Geoffrey Carey Annabelle Dexter-Jones Élise Caron Corinne Yam Julien Prévost Ahcène Nini Laurent Lacotte David Stanley Phillips Matthew Gledhill Hanako Danjo Big John Pierre Marcoux Bastien Bernini Elliot Simon Quentin Auvray Bertrand Cantat Alexandre Leitão David Nzavotunga Kiala Show All…
Canal+ Pandora Film ARTE France Cinéma Pierre Grise Productions Théo Films WDR/Arte CNC MEDIA Programme of the European Union PROCIREP Angoa-Agicoa Medienboard Berlin-Brandenburg Soficinéma 8 Wild Bunch La Région Île-de-France
Корпорація "Святі мотори", 홀리 모터스, ホーリー・モーターズ, Svētie motori, Холи Мотърс, מנועים קדושים, Šventieji motorai, Корпорация «Святые моторы», Kutsal Motorlar, Phân Thân, 神圣车行, 巴黎聖騎士
Germany16
FranceU
AustraliaMA15+
USANR
Spain
GreeceΚ-15
South Korea18
ItalyT
Greece
Australia
France
Germany
Greece
Italy
South Korea
Spain
USA
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 rest 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…
I quit my job, left my family, sold my possessions, and moved to France to become a motion capture artist based on this movie and I am here to tell you real mo-cap is not like this at all.
Oh well. You win some you lose some. Maybe I’ll try to become an accordion player next.
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!
MUBI’s synopsis says ‘He seems to be playing roles - but where are the cameras?’ The cameras are right there, how else did they film this shit? fucking idiot
I'm still trying to wrap my head around what the hell did I just watched..... okay here we go.
Holy Motors is definitely a challenging cinematic experience. It's incredibly surreal, hyper-stylized, and genre-busting; constantly defying and reinvigorating the rules of cinema itself.
The film tells the story of the mysterious being named Oscar, who is driven around the city in the white stretched vehicle, taking him to the variety of "appointments" of the day. The "appointments" appear to be a series of acting jobs, where Oscar dresses up for the multitude of roles. Each of them played out like episodic vignettes with different genres (monster horror, family drama, crime thriller, musical romance, etc.) but with no correlations whatsoever.
Narratively speaking,…
![nathaxnne [hiatus: blast injury]](https://a.ltrbxd.com/resized/avatar/upload/1/9/5/2/4/3/shard/avtr-0-80-0-80-crop.jpg?v=2d9f35eba8){kind=small}
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…
i will never forget how gross the motion capture sequence made me feel. its so gross. even now i go back and watch just that part and just in my bones i feel BAD. thats so amazing. it is so cool that dance can gross you out. people can make you feel anything they want you to feel just by moving their bodies, even just in little ways. our primitive brains pick up on body language cues that our conscious brain doesn't and we understand the mood as sinister or lewd or like, we can see illness, or decay in what they're doing or whatever. idk im still talking about dance all the time. also i watched this like 6 months ago idk if you have to declare that. like on instagram when people would be like "#latergram". remember like in 2014ish
I will not pretend that I understood this movie anymore than I did with Synecdoche, New York, but I will say however that Holy Motors wasn’t too intellectually ambitious to throw me off. I love how it normalizes the surreal and reminds you of how conventional movies can be, movies that we are used to.
Leo Carax gives us a world where you catch yourself constantly in doubt of what is real. I am not a fan of movies that steer clear of the limbic system of my brain, but I can still appreciate how Holy Motors makes you stop and think about the human condition and the different realities it goes through. All in all, the open narrative, the…
It deconstructs conventional filmmaking structure, contemplates identity, is joyously anarchic and has one of the best operformances of the century, two wonderful scenes focused on music, Denis Lavant transforming from persona to persona, accordions, fingers being bitten off, naked bodies, melancholia, talking cars, Kylie Minogue, Eva Mendes, incredible make up, jawdropping sequences and is one of the greatest films ever made.
