Holy Motors (2012)

Director: Leos Carax

 It is not too difficult to appreciate this film, or to admire this film, or to enjoy this film, but understanding what it all means it is a different story. There is a lot going, and deciphering every single thing about this film may prove impossible on a first viewing. But when looking at the film overall, it's quite simple. We see an actor do rides around a limousine over the course of a single day doing nine different "appointments". He acts as an old lady begging in the street, he performs on a motion capture stage, he plays a father picking up his daughter from a party, he plays a sewer creature who kidnaps a model, he plays an old man on the verge of death, etc. The odd thing about these "appointments" is that there are no cameras or audience around, at least not visibly. He is performing these acts in the real world. The film hints that digital cameras are so small now, that they are invisible.

The film is a remarkably unique film in that every one of the "acts" Denis Lavant's character performs performs are executed to perfection. While the film does make sense as a whole, it's certain that director Leos Carax also wanted the opportunity to tackle all sorts of genres in one movie (it's his first film in 13 years, so he has a lot of catching up to do). He tackles these familiar genres because these genres are the "typical" entertainment we have in our lives, and because we are always performing for the omniscient camera, these genres become our reality. The digitalization of not just cinema, but of everything in our culture, has made it so in our constant performance for the camera we have lost our sense of identity. Our identity has slipped away behind the veneer of technology and the ways we choose to portray ourselves to the world. With its unique ambiguous structure, Holy Motors shows that truth in identity is slipping away from all of us in our increasingly technology-dependent world. Through it's multiple "episodes" Holy Motors is a mystifying, powerful, sensational, and thought-provoking film that tells us much about who we are and where we're going.

Grade: A

The Lovers on the Bridge (1991)

Director: Leos Carax

I really like this movie, but I think much of that like is based on admiration rather than actually connecting with the film emotionally or even intellectually. I love that this film is a romance between two homeless people, a small subject, but is so ambitious in filmmaking and scope. Director Leos Carax re-built the the oldest and most famous bridge of Paris in a countryside and uses it magnificently. It's obvious his camera angles were never restricted, as he gets all sort of angles, all sort of freedom on this bridge. It's most obvious in a brilliant nighttime sequence on the bicentennial celebration of Bastille Day, complete with fireworks and a wide-range of loud music. But not only does the scope give us the visual spectacle, but also a full fledged romance from the beginning to the end. Carax is given free reign and is never afraid to go all out.

The film is centered on a romance between two odd homeless people: a guy who eats fire and can't sleep without medication (played by Denis Levant, brilliant as always), and a girl who is recently homeless and is going blind (played by the great Juliette Binoche). Both actors make this odd romance work wonders and makes the films celebration of odd love work. Both people live in a brutal world, and only find solace in each other. It's a way to show that love can be a way out of brutality, but Carax is also not afraid to show that love itself can be brutal as well. At least, that's what he's going for. It all works on paper really well, but Carax walks a fine line between his massive scope and the emotionality of the story, and he doesn't always make it across. The movie can be incredibly impressive at times and Carax shows that he is a great filmmaker, but many scenes don't add much at all emotionally. But I found The Lovers on the Bridge to be a magnificent achievement, it's a film about an intimate story made large and epic, and that's what I want to see more of.

Grade: B+