Una película que rompe con los convencionalismos y desarrolla su propia estructura argumental, de forma que solamente desaprendiendo lo aprendido podemos contemplarla en todo su esplendor. Oséase, UNA PUTA MIERDA, una tomada de pelo de un director ególatra que se cree que nuestro preciado tiempo está a su disposición
Película dentro del género que he dado en llamar "surrealismo moderno" y donde incluyo a gente como Greenaway, Gondry, Kaufmann, Jonze, y alguna obra más experimental de otros.
¿Cómo disfrutar una película de este género? Regla nº 1: no trates de comprenderla. Sólo disfrútala, déjate llevar y deja fuera la lógica y los prejuicios. Si buscas una película con una trama coherente y lógica, con inicio nudo y desenlace, pasa de largo. Hay muchas críticas malas de gente que no ha comprendido esto.
Esta película es un viaje de una especie de actor que recorre París en una enorme limusina. A cada parada debe desarrollar un papel (no voy a dar más detalles).
La película gustará más o menos, lo que es indiscutible es que la si la actuación de Denis Lavant la hubiera hecho un americano se habría llevado 4 Oscars.
Al final aparece un jodido chimpancé. Eso solo se merece un 10.
Madre mía, qué angustia, qué cosa más mala...
Leos Carax's experimental odyssey is barking mad, weightless and euphoric – it's what we have all come to Cannes for. (...) And what the heck does it all mean? Perhaps Carax is creating his own secular Buddhism – the longed-for release of reincarnation made available right here, right now, over and over again. Or perhaps it is a commentary on identity and personae – how we all, in TS Eliot's words, prepare a face to meet the faces that we meet. Perhaps this is a multiple personality disorder: a series of symptoms caused by some awful tragedy: certainly his final musical number suggests this. Or perhaps it is a bravura exercise in pure imagination. Well, it's funny, it's freaky: a butterfly that breaks the wheel of convention. It's just crazy enough to win.
Holy Motors is bold, romantic and hilarious experimentation at its absolute finest.(...) Holy Motors may be too mad-eyed and free-associative for some in its bold attempt to distill the entire history of cinema into a single film. Yet you’d find it tough to deny that’s this is the work of a filmmaker who feverishly battling against the limits of the form. And he’s winning too.
Apocalyptic to its very core, there is a palpable teleological suggestion that Carax’s world is set at the endpoint of humanity and cinema. Humans only exist to be elsewhere (or someone else), and CGI and digital artifacts (e.g. datamoshing) crop up just as often in the film as brief zoopraxiscopic silent film interludes, reminding us that this ain’t no celluloid picture being projected. Embracing the absurdity and wonder of the delirious universe he’s created, Carax has created a cinematic trifecta of beauty, humor, and wonder that almost never rears its head so masterfully.
is dizzying, visionary, and one-of-a-kind. (...) I have no idea when or if "Holy Motors" will reach the US, but it may be the best film I've seen in my two years at this festival. I am refreshed by it, my faith in the unique power of film completely restored. I feel like I've just had my first drink of water after a drought, or my first bite of food after a fast. Even at a festival that has featured many very good or even great movies, this stands out as something special, as that hit I am always chasing when I sit down to two hours in the dark. I just hope we do not have to wait another decade for a new feature from this deranged, determined genius.
Is Holy Motors the most bonkers film ever?. The new offering from Leos Carax features Eva Mendes allowing a man called Monsieur Merde to eat her hair, two bonobo chimps playing house in suburban Paris, an extended scene of cybermonster sex and some talking limousines, to name but a few of the film's surreal moments. There’s also a musical interlude from Kylie Minogue as a suicidal air hostess. Bonkers it may be, but Holy Motors met with rapturous applause – and some equally loud boos – at its first screening and is being hailed as a serious Palme d’Or contender.