VALUTAZIONE IMDb
7,0/10
49.711
LA TUA VALUTAZIONE
Dall'alba al tramonto, qualche ora nella vita oscura di un mistico uomo di nome Monsieur Oscar.Dall'alba al tramonto, qualche ora nella vita oscura di un mistico uomo di nome Monsieur Oscar.Dall'alba al tramonto, qualche ora nella vita oscura di un mistico uomo di nome Monsieur Oscar.
- Regia
- Sceneggiatura
- Star
- Premi
- 29 vittorie e 71 candidature
Edith Scob
- Céline
- (as Édith Scob)
Trama
Lo sapevi?
- QuizLeos Carax offered the part of Mr. Oscar's love from the past to his own former girlfriend, Juliette Binoche. According to Carax, they finally "did not get along". He then rewrote the part, made it a singing character and cast Kylie Minogue instead.
- Curiosità sui crediti"Katya, for you" with a picture of Yekaterina Golubeva during the closing credits.
- ConnessioniFeatured in At the Movies: Cannes Film Festival 2012 (2012)
- Colonne sonoreWho Were We?
Lyrics by Leos Carax and Neil Hannon
Music by Neil Hannon
Orchestrated and arranged by Andrew Skeet
Performed by Kylie Minogue and Berlin Music Ensemble
Recensione in evidenza
It's going to be difficult to keep this short.
One of the darlings of the 2012 festival circuit, Leos Carax's Holy Motors delivers a pure cinematic experience designed to confront and challenge our understanding of the art form at every level. At the risk of over-simplifying a film that is anything but simple, Holy Motors is a film about the cinema as it stands today, and the deft ways in which Carax explores various aspects of his subject, whether addressing film- makers themselves, we the audience, or even the debate over physical versus digital media, are so rich and dense that it is impossible to absorb it all after a single viewing. As such it is sure to alienate and infuriate perhaps the majority of viewers, yet those who find themselves swept up in the abstract beauty of it all are in for an inspiring, enlightening, and at times overwhelming two hours.
Holy Motors follows a day in the life of Monsieur Oscar (a mind-boggling Denis Lavant), an actor whose roles seem to take place out in the real world rather than on the stage or screen. As Oscar is ferried from one assignment to the next by his faithful limousine driver Céline (Edith Scob), so too does writer-director Carax transport us to his next discussion point. Each surreal vignette is presented without much in the way of explanation, and Carax refuses to hold the hand of the audience, instead offering viewers the chance to piece the film together themselves. Similarly, Lavant's remarkable performance can turn without warning, shifting the entire film's tone from tragic to comical at a moment's notice, further disorienting the audience. While some of Oscar's 'roles' have illuminating punchlines to ease our understanding, the majority are much more conceptual, and will demand repeat viewings to unpack before Carax's intentions for the piece as a whole will become clear, if they ever will.
In a year where chatter surrounding huge tent-pole releases is choking social media and online communities, Holy Motors is the film that most deserves to be discussed, and debates about the film amongst cinéastes are likely already in full swing. While the audience who will really connect with the film is going to be comparatively small, nothing has offered this much to chew on for some time, and its value to those who appreciate it will only increase over time. Holy Motors cannot really be approached effectively in a brief review such as this, as it's not exactly an easy film to recommend or not given that each individual could potentially take something different from seeing it. But for those seeking a respite from the mindlessness of blockbuster season, seeing Holy Motors is a no-brainer. Carax almost forces the audience into an intellectual tug-of-war without ever feeling like he is talking down to us, rather that he wants us to reconsider the world of cinema, and not least of all our own place in it.
tinribs27.wordpress.com
One of the darlings of the 2012 festival circuit, Leos Carax's Holy Motors delivers a pure cinematic experience designed to confront and challenge our understanding of the art form at every level. At the risk of over-simplifying a film that is anything but simple, Holy Motors is a film about the cinema as it stands today, and the deft ways in which Carax explores various aspects of his subject, whether addressing film- makers themselves, we the audience, or even the debate over physical versus digital media, are so rich and dense that it is impossible to absorb it all after a single viewing. As such it is sure to alienate and infuriate perhaps the majority of viewers, yet those who find themselves swept up in the abstract beauty of it all are in for an inspiring, enlightening, and at times overwhelming two hours.
Holy Motors follows a day in the life of Monsieur Oscar (a mind-boggling Denis Lavant), an actor whose roles seem to take place out in the real world rather than on the stage or screen. As Oscar is ferried from one assignment to the next by his faithful limousine driver Céline (Edith Scob), so too does writer-director Carax transport us to his next discussion point. Each surreal vignette is presented without much in the way of explanation, and Carax refuses to hold the hand of the audience, instead offering viewers the chance to piece the film together themselves. Similarly, Lavant's remarkable performance can turn without warning, shifting the entire film's tone from tragic to comical at a moment's notice, further disorienting the audience. While some of Oscar's 'roles' have illuminating punchlines to ease our understanding, the majority are much more conceptual, and will demand repeat viewings to unpack before Carax's intentions for the piece as a whole will become clear, if they ever will.
In a year where chatter surrounding huge tent-pole releases is choking social media and online communities, Holy Motors is the film that most deserves to be discussed, and debates about the film amongst cinéastes are likely already in full swing. While the audience who will really connect with the film is going to be comparatively small, nothing has offered this much to chew on for some time, and its value to those who appreciate it will only increase over time. Holy Motors cannot really be approached effectively in a brief review such as this, as it's not exactly an easy film to recommend or not given that each individual could potentially take something different from seeing it. But for those seeking a respite from the mindlessness of blockbuster season, seeing Holy Motors is a no-brainer. Carax almost forces the audience into an intellectual tug-of-war without ever feeling like he is talking down to us, rather that he wants us to reconsider the world of cinema, and not least of all our own place in it.
tinribs27.wordpress.com
- markdroulston
- 11 ago 2012
- Permalink
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Dettagli
- Data di uscita
- Paesi di origine
- Lingue
- Celebre anche come
- Phân Thân
- Luoghi delle riprese
- Grand Magasin de la Samaritaine, 17-19 rue de la Monnaie, Paris 1, Parigi, Francia(deserted department store)
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Lordo Stati Uniti e Canada
- 641.100 USD
- Fine settimana di apertura Stati Uniti e Canada
- 18.866 USD
- 21 ott 2012
- Lordo in tutto il mondo
- 1.953.562 USD
- Tempo di esecuzione1 ora 55 minuti
- Colore
- Mix di suoni
- Proporzioni
- 1.85 : 1
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