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Perennial French bad boy auteur Leos Carax (THE LOVERS ON THE BRIDGE, MAUVAIS SANG, POLA X) re-imagines the City of Light as the backdrop for nearly a dozen surreal adventures starring the filmmaker’s longtime collaborator Denis Lavant as a 21st century man of a thousand faces. Travelling in a white stretch limo, with his elegant, imperturbable female chauffeur (Edith Scob), he effortlessly transforms from Oscar, a conventional businessman, to a motion-capture acrobat, the leader of a boisterous accordion marching band, a sewer-dwelling leprechaun (who kidnaps a supermodel, played by Eva Mendes), an assassin, a bag lady, a forlorn lover (of Kylie Minogue) and…  Michel Piccoli has a cameo as Oscar’s mysterious boss. “Exhilarating, opaque, heartbreaking and completely bonkers… a deliciously preposterous piece of filmmaking that appraises life and death and everything in between, reflected in a funhouse mirror.” – Megan Lehmann, The Hollywood Reporter.





“Critics’ Pick!…an episodic work of great visual invention… its episodes…deeply connected by mood, visual, style and Mr. Lavant… by Mr. Carax’s singular, fluid artistic vision… It’s a gift for moviegoers to have this much freedom, and exhilarating…It mostly, wonderfully, feels unlike anything else: it’s cinema reloaded.”
– Manohla Dargis, The New York Times
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“A work of unfettered – and liberating – imagination. A showcase for the stupendous Denis Lavant. HOLY MOTORS emerges as a cry for intimacy. Have I mentioned how amusing the movie is?”
– David Edelstein, New York magazine

“Unclassifiable, expansive, and breathtaking!”
– Melissa Anderson, Village Voice

“The year’s most singular film. A free-wheeling fantasia with a surprise around every turns. It’s a grand spectacle. Mr. Lavant’s sad-sack soulfulness and street-prophet intensity… infuse every moment – no matter how mythic – with the tragedy and beauty of human experience.”
– Steve Dollar, Wall Street Journal

“The delirious energy and daredevil bravado of his movies… could be said to capture the intensity of first sensations or the urgency of last gasps.  (It’s) a movie that suggests by turns commedia dell’arte, performance art and a video game… film noir, monster movie, domestic drama, musical.”
– Dennis Lim, The New York Times

“Presented as a movie within a dream. A quixotic homage to Paris and the cinema of those directors who found in the city and its movie screens a passage to the unconscious. A thrilling dancer and acrobat, Lavant is also expert at involving us in a heartfelt exchange, for example, between a troubled teen and her father, until with a single gesture he turns the game inside out… HOLY MOTORS is lively and entertaining.”
– Amy Taubin, Film Comment

“One of the most talked-about films at this year’s (Cannes) festival. It is of course hard to talk about Carax’s films without also talking about the films he clearly loves, beginning with the pantheon of French cine-poets that includes Vigo, Epstein, Grémillon, and Cocteau. Even more than his previous films, HOLY MOTORS invites a cinephile game of spot-the-allusion… About as close as Carax has come to an artistic manifesto: a film about life as cinema and cinema as life.” 
– Dennis Lim, Cinema Scope