Surreal drive quite a trip
FRENCH filmmaker Leos Carax only makes a feature once per decade, and it would be fair to say he is not in the business of pleasing a crowd.
After his latest work, Holy Motors, premiered at Cannes in May to wildly diverse reactions, Carax was asked what the general public will make of the picture. ‘‘ Who is the public?’’ responded Carax. ‘‘ It’s a bunch of people who will be dead very soon, and that’s all.’’
So should you go see Holy Motors before you draw your last breath? I wouldn’t drop everything in a mad rush. It is a random grab bag of ideas, tricks and moments, carried off with an unworldly slickness that could cast quite a transfixing spell if you’re in the right mood.
I have to be honest and say that the scattergun surrealism in play – small apartments with large cinemas inside, a hobo snacking on the hair of Eva Mendes, Kylie Minogue as a flight attendant singing her last ever song – meant forging a lasting connection to Holy Motors was almost impossible.
With less of a story to call its own than The Expendables 2, the film can only spirit the viewer from one weird vista to the next.
What you’ll make of the views is all up to you.