Directed
by Leos Carax’s. It is crazy,
weird story of an illogical limo-ride through Paris. Films are
always getting described as surreal, whether they are or not. But this year we
saw a genuinely surrealist movie. Holy Motors is unaffected by logic and common
sense; it takes off in all directions, inspired by Cocteau, Lynch, Buñuel, Muybridge,
Kafka, and many more.
It's a kind of road movie. Monsieur Oscar is an enigmatic
businessman, played by Denis Lavnt being carried around Paris in the back of a
white limousine, driven by Céline, played by Edith Scob. He has a number of
mysterious appointments, for each of which he has to apply a new and elaborate
disguise. But what on earth are these appointments?
In the course of each, he seems to enter a different or parallel
universe in which his persona is unquestioningly accepted. He is an angry
father, a homeless bag lady, an assassin and even a motion-capture studio model
whose acrobatics create a weird and wonderful erotic animation which we are
permitted to see and which doesn't seem any more or less real than everything
that comes before or after. Some other actors in the film are Eva Mendes and a
cameo by Kylie Monogue. And what is the point of this film? Its point is to
dunk us in a delicious bath of unreason, to create pleasure. And having
achieved that, its purpose is to meditate – capriciously, playfully – on the
role-play we all have to master on our limo-ride through life.
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