Karax is the medium through which the film dreams of itself—in the metonymic operation of the chain of signifiers without causal explanation and free association like a dream, Oscar's body is only used as the material for the idea of performance art to emerge.
Film art was born to capture the behavior of human limbs, and motion capture technology excludes human limbs and can directly capture the behavior. This may also be a narrative trick in the film: only capture the plot nodes in conventional melodrama, avoid flashbacks and other temptations that can directly produce meaningful effects, and replace the previous ontological disguise process and the materialized presentation of the car as a narrative power.
The lack of direct meaning effect comes from the absence of camera-audience meaning guaranteeing the gaze, and this is not so much a mourning for the dead status of the film, but as a revelation of the fact that the film has been dead since the day it was born - Hong Kong gangster film Oscar-Alix in the paragraph, who disguises a (own) corpse as his end result is precisely his own death - the movie is always dead, because the audience always wants to see the next one, their The object of the gaze is forever flickering in the next film, and thus begins the lewd journey of life and death in the film.
Called a filthy part of himself by Karax, Mr. Dmitry has childlike behavior - he binge-eats sacrificial flowers as a symbol of civilization in a cemetery with a personal website as an epitaph, like an oral baby - As devastating as Godzilla ("Tokyo!"), is the way the movie spectacle itself as Denilawang. The film tells us how to desire (Zizek), desire is always repressed, and Mr. Dmitry is the return of the repressed filth of himself on the screen.
In an abandoned mall full of severed limbs, Oscar encounters echoes of a doomed love whose resonance with Karax's earlier work forces the metonymic chain that resists signification to become unmanageable. The audience in the theater and the cars in the car dealership want to reveal the fact that the film has long since died with the gaze/sound of the real world, while Karax stitches the severed limbs of the film with the strongest personal experience, and is born out of the self-denial of the film. Negative new students, and to deal with their own situation.
Movies are Karax's way of dreaming about himself.
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