Evil temperament, treacherous situation, dream-like narrative, light and dark allegory, exaggerated visual symbols... In a sense, "low-yield director" Leo Karax's new film "Holly Motors" isn't for everyone, because it's likely to breed a bit of impatience and confusion, but it's definitely worth it public viewing.
It is undeniable that this film is a little obscure, a little weird, and if you look at it from the perspective of a leopard, you may miss it all. From the very beginning of the film, it shows that dream and reality, reality and fantasy are intertwined and parallel, as if a play within a play, a shadow within a movie, and a dramatic superposition. Light and shadow create a hypnotized world.
As if the screen reappearance of "fantasy realism", the film straddles reality and dreams, and the director once again blatantly exaggerated in explaining human behavior patterns in front of his God, mentioning the helplessness and blindness of human beings, tearing apart The glamorous and sinister nature of the film industry. The film does not seem to pay attention to narrative logic, as if it is a non-linear reproduction of fragmented life, but the ten nightmare stories in the film are all linked by a clue and a character, and they are connected but unrelated to each other. While weakening the logic, the film is rich in emotional repression, release and even wildness, and entangles this emotion with people and things that exist in reality, and then reflects a kind of whimsy, so the audience who sees it will feel Involuntarily being hypnotized in an obscure context, as is the pattern created by some filmmaking.
The film involves many considerations, such as reflection on the film manufacturing industry, occupation and alienation of practitioners, and worries brought about by new technologies. For movie fans, the irony of the English title Holly Motors and the actor's name Oscar are obvious. At the same time, it is not difficult to understand the true and false acting life of the actors in the film. , but the effect of those few flashbacks of black and white images will lead to different perceptions of different people. Those black-and-white pictures seem to arrive unexpectedly with old imprints, as if to reveal Oscar's life course with ancient fables, as if to say that the "hard labor" in his life is boundless, and the endless hard labor is undoubtedly the absurdity of human existence. The most vivid symbol of sex. There seem to be many possible explanations, but each one seems to hide the other.
The protagonist in the film seems to have a presence, he seems to be everywhere and can do anything, but he seems to have no presence, and he is not him in every story, says Philoda Dostaski : "The mystery of human existence is not only to live, but to find the goal of living." Oscar's daily life goal in the film is to complete a series of performance tasks, and it starts over and over again, from opening to closing, not only every day Now, ten different types of performances are gone. As he interprets the lives of others in these parallel lives, he uses a luxury car to get from station to station. The "car" here is like a prop, a carrier, like one of the figurations of the industrialization of the film. In the car, he is dressed, he talks, he is irritable, he is angry, he rests, he gasps, but all these emotions are also It seems that he is just a transition from station to station. And the plot about the characters' experience in the lengthening luxury car is easily reminiscent of Cronenberg's new film "Metropolis".
Among the ten tasks of Oscar, each has a bizarre factor, and the expression of each is completely different and unified. What is different is that some images in different types of films have the shadow of other films, and the unified Yes, the application has the taste of Karax in this film, and the part of playing the eccentric Maud seems to be the director looking back on a creation he once created. When the task ended in "home", it was the orangutan wife and children who gave Oscar the warmth of the world. This strange "family of three" gave this bizarre professional experience an alternative station.
There is a line in "Lovers in the New Bridge": "The person who appears in the dream, go to see him when you wake up." Even if the dream is false and absurd, Karax still conceals his overt or dark ravings, And try to break taboos, conventions and limitations. Throughout his few films with shocking elements, there are some taboo colors. It seems that one of his tasks to light and shadow what he thinks is to constantly ask sharp and alienated questions, and set out to create a non-mainstream trend of thought and pattern, even if his artistic creation is not to object to universal views. , but as an artist, he may be surly and contradictory by nature. His films are not dialogues, not interactions, but advanced vigilance. He seems to be in some kind of strange evolution and transmutation. something that goes beyond the usual response.
At the end of the film, the cars mentioned "de-mechanization" in the "Chilling Talk", which means another turn of film technology. Every time the application of new technology has a revolutionary impact on the film, there are always a large number of practitioners. Then he disappeared silently. Also, Denis Lawan's acting is excellent, and hopefully the massive intrusion of new technology won't bury a powerful acting like him.
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