Holy F***

Holy Motors (2012, Leos Carax)

Pardon the frankness of the title, but that is precisely what I felt all-throughout Holy Motors’ two-hour runtime. From start to finish.

I honestly don’t even know where to begin with this film. But if I had to talk about it, it’s that it is an anthology film where the framing device is one man taking a limo from segment to segment and transforming himself along the way. And yet it is not an anthology since most anthology films have different collaborators and style in each segment, but this film manages to maintain a consistent tone and feel through all of these segments.

I guess since the film has this form of structure then it’s fair to say that like the film, this entry is less about understanding and explaining the film and more of reacting to it. Some of the segments that occur are morbidly funny (one where he transforms himself into a savage being with no control and an appetite for destruction and another one where he murders a man only to be stabbed himself), some of the segments are just plain weird (one where he puts on a motion capture suit and performs stunts for an unseen director and the ending where he goes home to a family of monkeys), and some are actually beautiful and touching (one where he is an old man on his deathbed, one where he breaks out into a trumpet orchestra, and one where he seemingly drops his character and meets with a woman played by Kylie Minogue).

After finishing the film, I was just looking around in disbelief with what I just watched. And yet, somehow, after a few days of the film marinating into my mind, I can somehow admit that the film was an enjoyable experience. It’s nothing I would want to go through again, but as a form of showing what cinema can do, you can really do no wrong with Holy Motors. This is a film about filmmaking in this class that shows its power and range as a medium much much better than The Five Obstructions, and it almost sends a message of how with film, you can truly do anything you want. Creativity has no bounds, so why should film?

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