Holy Motors

The film is a parade of pseudo-intellectual claptrap, a mere montage of disjointed oddity; it has no direction, it just presents the viewer with one weird, meaningless image after another. I derive no positive emotion from a film that relies solely on ambiguous subtext, surrealism and symbolism.

I began to lose faith in the film by the 40 minute mark, each minute after that began to drag severely. There are scenes that are well acted and quite touching, but when they're thrown into this mess they're completely wasted. Some people have been flabbergasted by the suggestion that it's 'boring', I don't see what's so surprising about that, how can you be engaged by something that's so utterly meaningless?

Some people have praised its imagery, waffling on about how it 'celebrates the medium'. I agree it's striking and unconventional, but that's all it is; the best films achieve in both celebrating the medium of film and delivering strong, engaging narratives, whether they're simple or complex. Any idiot can throw together two hours of sheer meaningless oddity and claim it to be 'metaphorical' - it's weak filmmaking.

Even fans of the film have no idea what's going on, however many of them seem to relish mustering up their own vague, self-aggrandising interpretations of it. Although there are those who genuinely enjoy such ambiguity and have an honest approach to analysing the film, there are many that don't.

These are people who are likely to fiercely defend the film. Typically, they will label the film's critics ignoramuses who need their narratives to be 'spoon-fed' to them. I cringe to think about the scores of obnoxious pseuds who will attempt to revel in the utter poppycock that 'Holy Motors' serves by the shovel load.

A bizarre, enigmatic and brave cinematic return to feature film making from Leos Carax, after a 13 year gap, Holy Motors is a self-consciously low budget odyssey of ambiguous, pseudo-linear intentions. After five years attempting to raise funds for a large budget English language film that ultimately fell through, Carax turned his attentions on a native language film with a smaller cost, and was inspired when observing the many limousines driving around Paris. Regular collaborator Denis Lavant plays the mysterious Monsiuer 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 Mr Oscar dresses up for the multitude of roles.

From a dishevelled gypsy woman, - through a banker, and a dying millionaire - to a crazed vagabond who kidnaps a fashion model, Kay M. (Eva Mendes), Oscar glides through the day and into the night, changing his appearance with make-up and prosthetics, fulfilling his duty to a mysterious company, accomplishing the jobs he is given information through files in the back of the car. In other scenarios Oscar is dressed in a black leotard with white dots, as he enters a very industrialised building where he performs a motion-capture dance and highly sexualised duo with a red-clad blond woman, as it turns into the serpentine CGI creation; in another, Oscar joins his 2 point 4 family unit, which consist of chimpanzees.

Whilst Carax takes many stylistic references from David Lynch, the film also offers a quite unique sense of humour. In one scene, Oscar is playing a dying rich man, who has his step-niece beside him in his last moments. After dying, Oscar climbs from the bed, the niece still sobbing into the covers, he turns back to ask the girls name, and offering apologies for his swift exit: "I have to get to another appointment" he states, which is returned with the reply that she also needs to leave for another appointment (It's funnier on screen than in writing - and certainly after the incredibly moving moments of death). It's a jarring punch-line to a heartfelt moment. Small details of technological modernity invade the mis-en-scene, for example, when Oscar is the vagabond, he wildly runs through a cemetery eating flowers, each gravestone has its own www.address.

Holy Motors is without question a film about film, and film making, offering allusions to Jean Cocteau and Jean-Luc Godard. Fundamentally though, this film seems to evoke another French original, Georges Franju, whose film Eyes Without a Face (1960) is highly referenced. Edith Scob (who played the masked victim in the film), drives Mr Oscar around, and actually reprises her role, and hides her face once again under the mask. The mysterious events in the film could also be regarded as a comment on changing nature of cinematic production. From the motion capture sequence to the nature of Oscar scatological "job", the film seems to lament the loss of real cinema - Carax filmed in digital video (a format that he hates) for budgetary reasons.

What is so beautiful about this mode of cinema is the complexity of meaning. This is film so dense in symbolism that it requires repeat viewings. Whether it's about the changing face of cinema, the acting profession, or an exploration of the nature of identity (Oscar could represent the many faces that we have to put on each day, in the performance of life, and our increasing need to compartmentalise each element of our lives), it doesn't really matter what the directors true intentions were. This is cinematic experience at a most cerebral level. We are not given the meaning, but we take from it what we bring to it, and can interpret it how we want. Lavant creates a fantastic, multi- faceted performance, even managing to hold an erect penis in the most unsexy environment ever. Kylie Minogue even manges to be perfectly suited for her small role in which she may have been a past lover of Mr Oscar, she also sings a song written by Carax and Neil Hannon, which enlightens a dingy musical movie moment.

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Holy Motors must be the strangest, maddest and most bizarre film I've seen since at least Love Exposure and possibly ever. In a statement about the nature of both acting and the digitalisation of the world, Leos Carax's film stars Denis Lavant as a man who travels through Paris in a white limousine that is driven by Edith Scob. Along the way he stops for various 'appointments' for which he adopts an entirely different character complete with makeup, mannerisms and speech. Throughout the course of the day he becomes a beggar woman, motion capture artist, assassin, disappointed father plus many more.

The film's message or statement is open for interpretation and after telling my girlfriend what I though I asked her the same, to which she replied "I thought it was about weird stuff". The film is enjoyable however you view it and whether or not you read into any hidden messages or not. The themes that I personally believe the film is tackling may be totally different to the person next to me but it doesn't matter. Holy Motors is a thrilling, darkly comic and bonkers film that is worth tracking down.

Due to the film's premise, subject matter and country or origin, we got the chance to travel to our local Art House Cinema, Cornerhouse in Manchester. We saw the film in their small room which contains just 58 seats but when the lights went down the cinema was full. After an ominously bizarre opening we see Denis Lavant leave his seemingly loving family and mansion behind and head for a waiting limousine. If this were any other film you'd likely expect he was a businessman or some sort but it isn't long before his driver takes him to his first 'appointment'. Before this opening appointment the camera swoops around to show the remainder of the limousines' interior which instead of being filled with sofas, TVs and fridges is stocked with all manner of props, wigs and makeup cases. In no time Lavant is transformed into his first character, an old beggar woman of the sort you see around The Eiffel Tower. After several minutes of being ignored on the street he is back in the limo and off to his next appointment. The second and third appointments are for me the highlights of the film. One is an incredibly beautiful look at motion capture, shot in a darkened room with UV light and features incredible visuals, choreography and the most contorted woman I've ever seen. The third is the strangest and funniest vignette and sees Lavant dressed as a sort of tramp/Quasimodo figure and having interrupted a fashion shoot, steals the model before taking her to his underground lair. The film reaches a crescendo at this point which it is never really able to match. At the time I thought to myself "I'm looking at Eva Mendes dressed in a Burqa, singing a lullaby to a naked man with an obvious and exposed erection. Where can they go from here?" The answer is that they reel the film in slightly and take the audience to more emotional and heartfelt places.

Denis Lavant's performance in this film is simply incredible. I haven't seen a better acting job this year and I'd be surprised if I do. If the film wasn't so strange and commercially off-putting he would be a shoe-in for the major awards next February. Even so I wouldn't be at all surprised to see an Oscar nomination if the Academy is feeling brave. Lavant literally transforms himself about nine or ten times, playing totally different characters each time. It's not just the sheer number that is impressive though, it is the quality of the performances which really stands out. He is truly awe inspiring in this film.

The film's message and themes are as I've mentioned open to interpretation. Personally it felt to me like a satire on the nature of acting and how these days with the likes of camera phones and CCTV an actor can never switch off. We don't know who is watching so we are always performing. Equally it could be interpreted as stating that we show different sides of ourselves to different people. I know that I'm a totally different person with my girlfriend as I am with the people at work for instance. It seems likely that the film is trying to talk about a variety of issues and themes and perhaps other people will pick up on different aspects of the strange world that it creates. That and Lavant's performance are its two major strengths.

Some people will inevitably be put off by Holy Motors premise, style and quirkiness but if you stick with it and allow it to wash over you it's a brilliantly weird film that will be popping up on lots of Top 10 lists come December.

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Holy Motors (2012)

A bizarre (and highly praised) film that is ambitious and inventive to the point of pain. I wish it was as brilliant as it intends. As we follow the leading character Oscar through a series of seemingly unconnected events, it struck me that the goal is simply to stage these odd moments, almost choreographed surreal adventures where he takes on different personae (with elaborate costumes). The events don't achieve what you might call depth or meaning. They are interesting—how could they fail on that score?—yet interesting turns out to be not enough.

Still, look for high style throughout, some terrific underworld insanity, some unfiltered sex and violence, and lots and lots of pretense. I have a feeling there are some people who might rate this among their favorite films and so I'd say give this a try. It might take half an hour to know whether the changing roles and scenes (and the self-indulgence) will keep you sustained.

Since Oscar is shuttled from one location to another in a stretch limo, you get the feeling he might just be a filthy rich eccentric who refuses to be bored with life. He admits he started doing this (every day, we get the sense) for "the beauty of the act," and this high level of aesthetic tension seems insufficient for the depravity involved.

This is a French-German enterprise, set in Paris. It has enough quiet moments to make you impatient, but from the pause it will take off on another romp. The actor has to be admired, for sure—Denis Levant, known for his boundary pushing roles (from Shakespeare to experimental film). The director, Leos Carax is likewise associated with the avant garde —and with Levant. But they have tried to keep their grand experiment traditionally cinematic, as well, so there are lots of ways to appreciate what's going on. The filming is sublime, the ambiance from lighting to set design is gorgeous.

There is that dangerous point in a art when a work gets so serious it demands of itself a kind of perfect to succeed. And there are so many little holes here, even some odd moments in the acting, it becomes almost laughable. At times. Which is too bad. There is a lot here to take quite seriously, I think. Then again, maybe it's meant to be an absurdist dark comedy all the way. Which means we're allow to laugh after all. Go for it.

It's going to be difficult to keep this short.

One of the darlings of the 2012 festival circuit, Leos Carax's Holy Motors delivers a pure cinematic experience designed to confront and challenge our understanding of the art form at every level. At the risk of over-simplifying a film that is anything but simple, Holy Motors is a film about the cinema as it stands today, and the deft ways in which Carax explores various aspects of his subject, whether addressing film- makers themselves, we the audience, or even the debate over physical versus digital media, are so rich and dense that it is impossible to absorb it all after a single viewing. As such it is sure to alienate and infuriate perhaps the majority of viewers, yet those who find themselves swept up in the abstract beauty of it all are in for an inspiring, enlightening, and at times overwhelming two hours.

Holy Motors follows a day in the life of Monsieur Oscar (a mind-boggling Denis Lavant), an actor whose roles seem to take place out in the real world rather than on the stage or screen. As Oscar is ferried from one assignment to the next by his faithful limousine driver Céline (Edith Scob), so too does writer-director Carax transport us to his next discussion point. Each surreal vignette is presented without much in the way of explanation, and Carax refuses to hold the hand of the audience, instead offering viewers the chance to piece the film together themselves. Similarly, Lavant's remarkable performance can turn without warning, shifting the entire film's tone from tragic to comical at a moment's notice, further disorienting the audience. While some of Oscar's 'roles' have illuminating punchlines to ease our understanding, the majority are much more conceptual, and will demand repeat viewings to unpack before Carax's intentions for the piece as a whole will become clear, if they ever will.

In a year where chatter surrounding huge tent-pole releases is choking social media and online communities, Holy Motors is the film that most deserves to be discussed, and debates about the film amongst cinéastes are likely already in full swing. While the audience who will really connect with the film is going to be comparatively small, nothing has offered this much to chew on for some time, and its value to those who appreciate it will only increase over time. Holy Motors cannot really be approached effectively in a brief review such as this, as it's not exactly an easy film to recommend or not given that each individual could potentially take something different from seeing it. But for those seeking a respite from the mindlessness of blockbuster season, seeing Holy Motors is a no-brainer. Carax almost forces the audience into an intellectual tug-of-war without ever feeling like he is talking down to us, rather that he wants us to reconsider the world of cinema, and not least of all our own place in it.

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