Chaim Kindergelt’s review published on Letterboxd:
Personally, I think it’s hilarious and very touching that Carax makes a film dedicated to his fears towards the relationship with his daughter that will (and, likely, already has), to his detriment, unpredictably blossom(ed) into the unknown. Simultaneously, he’ll hinge the intimate extrapolation on the fact that audiences know what he looks like.
A particularly intriguing continuation of his discourse of aesthetics in Holy Motors, too, but where it seems a confluence of should-be-discursive-decisions coalesce in a purposeful apathy with regard to elegance. And in such, a fluidity of its own making is promised.