Sur­real drive quite a trip

Sunday Tasmanian - Tassie Living - - MOVIES - LEIGH PAATSCH

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.

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