12 October 2012 7:30 AM, PDT | FilmSchoolRejects.com | See recent FilmSchoolRejects news »

There is a theory that Fellini’s La Dolce Vita is structured, quite schematically, like Dante’s Inferno. The idea is that this three hour film can be broken down into nine significant episodes, one for each of the layers of Hell. It doesn’t really work without ignoring some sequences and fudging the math, but no matter. Complicated and almost conspiratorial interpretations of movies will always abound; one need look no further than Shining conspiracy documentary Room 237, also playing this installment of the New York Film Festival. Yet sometimes a movie comes along that seems to dare the audience to come up with intricate analyses, to start cranking away even before the credits have rolled. Intentionally or otherwise, Leos Carax’s Holy Motors is one of those challenges. This complex work of French absurdity invokes the birth and life of cinema from its first moments. Carax clips early motion studies of the male physique, grounding »

- Daniel Walber

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Federico Fellini
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