Holy Motors ★★★½

I’ll have to watch this again at some point. While I could appreciate its thematic consistency and certainly was aware of the mournful tone, watching the film was a somewhat detached, intellectual exercise at best. Only rarely did the inventiveness truly thrill me and rarer still were the moments when I felt the bittersweet nostalgia that Carax seems to be aiming for. This nonetheless feels like major accomplishment, bemoaning the death of the filmic, cinematic body while simultaneously celebrating the medium’s ability to capture the human body in motion, courtesy of Lavant, whose acrobatic background creates perhaps the prime attraction here. I can think of several moments that I’d love to revisit (that graveyard nightmare, the sad car ride between father and daughter, the touching post-deathbed chat, etc..), yet the thought of watching it all again right now is a tad exhausting, which might be an indication that cinema is truly a digital medium these days and makes me feel like one of those dozing theater patrons from the intro.