As a deadly virus which infects people who have loveless sex sweeps Paris, a lonely pariah attempts to steal a potent antidote, only to fall for the mistress of his partner-in-crime. Is the infectious young love the cure to the bad blood?
Director:
Leos Carax
Stars:
Michel Piccoli,
Juliette Binoche,
Denis Lavant
Alex, who's homeless and addicted to alcohol, and Michèle, who's losing her sight, form a relationship while sleeping rough on Paris's Pont-Neuf bridge.
Paris by night. Alex, 22, wants to become a filmmaker. He is fascinated by first times and his girlfriend, Florence, has just left him for his best friend, Thomas. First break-up, first ... See full summary »
Dying of kidney disease, a man spends his last, somber days with family, including the ghost of his wife and a forest spirit who used to be his son, on a rural northern Thailand farm.
An American drug dealer living in Tokyo is betrayed by his best friend and killed in a drug deal. His soul, observing the repercussions of his death, seeks resurrection.
Director:
Gaspar Noé
Stars:
Nathaniel Brown,
Paz de la Huerta,
Cyril Roy
In a Russian coastal town, Kolya is forced to fight the corrupt mayor when he is told that his house will be demolished. He recruits a lawyer friend to help, but the man's arrival brings further misfortune for Kolya and his family.
Director:
Andrey Zvyagintsev
Stars:
Aleksey Serebryakov,
Elena Lyadova,
Roman Madyanov
In a corrupt, greed-fueled world, a powerful alchemist leads a Christ-like character and seven materialistic figures to the Holy Mountain, where they hope to achieve enlightenment.
The role played by Michel Piccoli was originally intended for Leos Carax himself, but he decided it would be misleading to cast a filmmaker. When Piccoli was cast, the idea was to make him unrecognizable and credit him under a pseudonym, but the information reached the media. See more »
Quotes
Mr. Oscar:
I miss the cameras. They used to be heavier than us. Then they became smaller than our heads. Now you can't see them at all.
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A bizarre (and highly praised) film that is ambitious and inventive to the point of pain. I wish it was as brilliant as it intends. As we follow the leading character Oscar through a series of seemingly unconnected events, it struck me that the goal is simply to stage these odd moments, almost choreographed surreal adventures where he takes on different personae (with elaborate costumes). The events don't achieve what you might call depth or meaning. They are interesting—how could they fail on that score?—yet interesting turns out to be not enough.
Still, look for high style throughout, some terrific underworld insanity, some unfiltered sex and violence, and lots and lots of pretense. I have a feeling there are some people who might rate this among their favorite films and so I'd say give this a try. It might take half an hour to know whether the changing roles and scenes (and the self-indulgence) will keep you sustained.
Since Oscar is shuttled from one location to another in a stretch limo, you get the feeling he might just be a filthy rich eccentric who refuses to be bored with life. He admits he started doing this (every day, we get the sense) for "the beauty of the act," and this high level of aesthetic tension seems insufficient for the depravity involved.
This is a French-German enterprise, set in Paris. It has enough quiet moments to make you impatient, but from the pause it will take off on another romp. The actor has to be admired, for sure—Denis Levant, known for his boundary pushing roles (from Shakespeare to experimental film). The director, Leos Carax is likewise associated with the avant garde —and with Levant. But they have tried to keep their grand experiment traditionally cinematic, as well, so there are lots of ways to appreciate what's going on. The filming is sublime, the ambiance from lighting to set design is gorgeous.
There is that dangerous point in a art when a work gets so serious it demands of itself a kind of perfect to succeed. And there are so many little holes here, even some odd moments in the acting, it becomes almost laughable. At times. Which is too bad. There is a lot here to take quite seriously, I think. Then again, maybe it's meant to be an absurdist dark comedy all the way. Which means we're allow to laugh after all. Go for it.
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Holy Motors (2012)
A bizarre (and highly praised) film that is ambitious and inventive to the point of pain. I wish it was as brilliant as it intends. As we follow the leading character Oscar through a series of seemingly unconnected events, it struck me that the goal is simply to stage these odd moments, almost choreographed surreal adventures where he takes on different personae (with elaborate costumes). The events don't achieve what you might call depth or meaning. They are interesting—how could they fail on that score?—yet interesting turns out to be not enough.
Still, look for high style throughout, some terrific underworld insanity, some unfiltered sex and violence, and lots and lots of pretense. I have a feeling there are some people who might rate this among their favorite films and so I'd say give this a try. It might take half an hour to know whether the changing roles and scenes (and the self-indulgence) will keep you sustained.
Since Oscar is shuttled from one location to another in a stretch limo, you get the feeling he might just be a filthy rich eccentric who refuses to be bored with life. He admits he started doing this (every day, we get the sense) for "the beauty of the act," and this high level of aesthetic tension seems insufficient for the depravity involved.
This is a French-German enterprise, set in Paris. It has enough quiet moments to make you impatient, but from the pause it will take off on another romp. The actor has to be admired, for sure—Denis Levant, known for his boundary pushing roles (from Shakespeare to experimental film). The director, Leos Carax is likewise associated with the avant garde —and with Levant. But they have tried to keep their grand experiment traditionally cinematic, as well, so there are lots of ways to appreciate what's going on. The filming is sublime, the ambiance from lighting to set design is gorgeous.
There is that dangerous point in a art when a work gets so serious it demands of itself a kind of perfect to succeed. And there are so many little holes here, even some odd moments in the acting, it becomes almost laughable. At times. Which is too bad. There is a lot here to take quite seriously, I think. Then again, maybe it's meant to be an absurdist dark comedy all the way. Which means we're allow to laugh after all. Go for it.