Evengyny Thanks for the memories!

Exoticalot People are voting emotionally.

SanEat A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

Aiden Melton The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

trancenational What a delightful visual surprise was this movie. Stunning photography. Each single shot is perfect. I wanted to hug the creators. Mass audience could not like it because the typical plot is missing, but in this case it should be totally forgiven, for this is not only a gem in the oniric movie tradition, but in the overall history of cinematography.

FilmCriticLalitRao It is true that as a film 'Holy Motors' was released in 2012.Within a short span of time, it managed to capture the imagination of both critics as well as die-hard fans. However, all cinema enthusiasts should know that its director Leos Carax had a different project in mind when he conceived his film in 2009. It was originally called 'The Actor' in which one follows the day of someone who seems to have several lives intertwined with quite distinct identities (sometimes man, sometimes woman, sometimes still young, sometimes old, sometimes miserable and sometimes easy). French actor Denis Lavant played the Actor, and of course all the characters that embodied the Actor. It is quite a mystery why 'The Actor' could not be filmed as a short film. 'Holy Motors' is an excellent example of the fertility and richness of human imagination. It appealed a lot to audiences due to its strange narrative structure which was entirely made up of different vignettes. In retrospect, what mattered the most was not the actual story but the manner in which these vignettes were shot. Each powerful vignette was crucial in developing the character played by actor Denis Lavant. This aspect can be interpreted as the film's masculine perspective. It is unfortunate that the feminine perspective of this film is not as powerful as that of Denis Lavant's different roles. The casting of actresses was excellent but their roles were either limited or too minuscule as Eva Mendes didn't even utter much words, Kylie Minogue came on the screen to die quickly and Edith Scob was given the task of displaying minimal talent by continually being on the driver's seat. Despite these glaring errors, 'Holy Motors' remain a perfectly watchable film due to its propensity for something grotesque. This should not shock anybody as everybody expects to be familiar with something which is both brilliant as well as eccentric.

Rodrigo Smithian This is a surreal film, a fantasy ride. There's a man, Mr. Oscar who travels in limousine destined to arrive in several locations playing a different bizarre character. In some point, Oscar is a regular human being who is having an argue with his teenage daughter. So what's the point? I've been fooled by trailers. I found disgusting the cemetery monster abducting a model (Eva Mendes. Well this scene is very theatrical and beautiful, but there was a penis showoff so unnecessary. Then, Kylie Minogue sings "Who were we" wait a minute I am in Broadway? I think some theater plays should not meant to be a movie. What's wrong with this "Art Film"-makers? I don't get it. This movie is beautiful, but is tremendously boring.

Alex Deleon CARAX AT KVIFF, 2012 -- HOLY MOTORS Viewed at Karlovy Vary IFF, July 2012 The last film of the day today in the Main Hall was a bizarre, supremely over-the-top, episodic spectacle, with the beguiling title of "Holy Motors" most deftly directed by Leos Carax known affectionately in France as "The bad boy of French cinema". Fifteen minutes into the picture, which is a string of grotesque appointments with murder, rape, suicide, and other exceedingly weird anti-social acts perpetrated by a mysterious "Mr. Oscar" who changes costumes for each episode and is chauffeured about Paris in a white stretch limo piloted by a pretty weird old woman in white -- it is not hard to see how he earned this sobriquet. The limo Mr. Oscar rides in serves as a dressing room for his many transformations ranging from a bent over old woman beggar, to an acrobatic dancer in full-body black leather tights with small embedded lights all over, in which he engages on a darkened rooftop in wild sexual acrobatics with a woman similarly dressed in red body leather – simulating cunnilingus through the leather and ending in a wild trapeze ejaculation with a giant dildo. This section also has some amazing computer generated animation -- Next he visits a man he seems to have some grudge against and stabs him in the neck as the blood gushes copiously and he drops dead -- next Oscar shaves the head of the cadaver and starts making him up to be a double of himself --whereupon, the hand of the cadaver moves, picks up the knife and stabs Oscar in the neck -- as Oscar bleeds to death we see him and his victim lined up on the floor side by side like a pair of bloody twins ... Inexplicably Oscar recovers and is soon seen in another episode dressed something like a one eyed Hunchback of Notre Dame in long red hair and bare feet, Oscar accosts a tall beautiful woman posing as a living statue for a crowd in Pere Lachaise cemetery and drags her down into the sewers of Paris where he eats the money from her purse, eats part of her long black hair, licks her armpit, then dresses her up in an improvised chador and undresses himself revealing an incredible phallic erection (is it real or a device?) – on and on – Next he shoots a banker at an outdoor restaurant and picks up his teenage daughter from a party telling her he must punish her for lying to him --mand also for being unpopular with the boys ---but her punishment will just be having to live in her own unhappy skin -- All of these scenes very beautifully filmed and framed – Finally he meets a young woman who seems to be in love with him – again on a rooftop – but when he rejects her she jumps off and is found in a pool of blood on the pavement below. In the last scene out r hero Oscar alone in his bedroom after a hard day's "work" ponders the emptiness of his life and the meaninglessness of death. Amazing colorful depressing stuff set to sweet cello music –and , oh yes –at the very end the limo is dropped off at a limo garage dominated by a large neon sign saying HOLY MOT-RS (One letter is burned out) which explains the title -- here Many identical limos are lined up and start sending each other grotesque messages – to end the film with talking limos ... Many of the scenes are hypnotically beautiful, decoratively original, dramatically absurd, and even humorous at points. But the total effect is that of an extended nightmare in a film that seems to be a mix of Cocteau and Pink Flamingos with a touch of Godard, all with the souped up cinematic technology of the 21st century, produced by a talented but singularly twisted mind. The events depicted are so far-out that they are not even outrageous –just weird and grotesque and, ultimately quite depressing. There were many walkouts but we who stayed the course were left with the idea that if we did have our lives to live over again it would only be to go through the same hell all over again –without love. If that is not a depressing thought I don't know what is … Director Leos Carax, now 51, made a strong debut in 1984 at the age of 24 with "Boy Meets Girl" and is noted for his poetic visual style and tormented descriptions of the miseries of love. Since then, other than shorts, he has only made four full length features all extremely unconventional if not downright outrageous, but critically admired for their esthetics and originality. "'Holy Motors" was in competition at Cannes this year where many advocates thought it should have won the Palme d'Or. For its uniqueness alone all I can say is "why not?" For the record, Mr. Oscar was played by Denis Lavant, 50, an actor who is peculiarly ugly, quite agile, and has been in all of Carax's films - -in two of them opposite Juliette Binoche. The limo driver was played by 74 year old actress Edith Scob who is of Russian background and was a favorite of surrealist Georges Franju from 1958 to 1962. Tall and gaunt with thick white hair she is even now still pretty, as well as pretty weird -- the perfect chauffeur for His Weirdness Monsieur Lavant.