"Holy Car"
I decided to give five stars. It doesn't mean that it is on the same level as other five-star movies, but it gets full marks in the category of avant-garde movies. I've always hated avant-garde movies without a full storyline, but I was completely overwhelmed by this genius work, which was an eye-opener.
The imagination is rich, the character modeling performances, the imagination, and the production level are all excellent-except that they can't understand, everything is really good.
The normal flow of stories is interspersed with some dreams, which is correct, similar to Paul Sorrentino. It is not advisable to float all in a dream. Bourgeois is weird, but the audience knows what the characters do and what they are doing. It is not advisable for this audience to be completely confused.
It can't be too muffled or silent to offend the audience, at least the soundtrack.
Nose Hair Recognition: Set up weird bridges based on the correct process.
Motion Capture: Pioneer films need to be eye-catching enough.
Cut clothes to cover your head: No matter how empty the theme is, it starts from the details, and it will never be empty like a bad movie.
Every look is very convincing, as to how much an actor's image can change.
"The cameras used to be heavier than us, then became smaller than our heads, and now you can't see them at all."
"Nothing makes us feel alive more than seeing someone die."
"Remember, where there is hatred, there must be love, Reya, eat hot love."
Take off the yellow fake short hair, revealing long black hair, very beautiful.
The long shot of the back and the song at the end.
A car contains a variety of lives, exploring the possibilities of life.
Rolling stones do not grow moss.
study notes:
At the beginning of the film, there are countless questions that will be thrown away with the director's rhythm and intentional substitution, and will be immersed in the surprise that the film brings all the time and nowhere. Karax doesn't give any explanation for these logical questions, stubbornly bringing people into his grotesque atmosphere. What is amazing is that this completely unreasonable and grotesque behavior presents a more believable realism under the precise and disciplined lens of Karax. Every time Oscar changes roles, the audience will recognize the new role. This kind of collision between the absurd reality and the reality of the fragment can only make people admire Karax's genius imagination and superb director skills.
You can think of the story as Denis Lawan playing one role after another, triggering one life after another. And the confusion caused in the performance: true and false, self-lost.
A sad tribute to the actor's career. Permeated with repeated weighing of the entire performance history and its ultimate contradictions. A person can only play himself, but must be in a different shell. Performance is great skill and art, but also the deepest consuming torture of one's own soul. The film itself is like an excellent actor, traveling through different lives and emotions, but staying true to the core from beginning to end.
This is one of the most enjoyable films I have watched in years, jaw-dropping, Karax's ability to bring his inspiration and stream of consciousness to the screen is truly unparalleled! As for the film itself, in fact, as he himself said, "don't ask me why, I'm not good at answering questions, just like I can't explain why I had sex last night in a certain position." . . Well, my understanding is that "life is a play".
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