Holy Motors

Holy Motors

Subjectivity is cinema’s strongest asset: any audience member, anyone viewing the film, has a different impression. Anything can mean anything, anyone can be anyone.

Holy Motors is peak subjectivity. Every segment, every character is uniquely subjective: all under the same man. Who is he, why does he do this, and who pays him to do this?

No one film is going to appeal to everyone: even the most conventional, straightforward film will have hoards of lovers and hoards of haters. Some will like the straightforward: the simplicity and relief of completion, a film that won’t follow around or confuse, a succinct and satisfying film. Some will like what they can impress themselves upon: to me, this means this and this represents this, and I like that it means this and represents this. I can relate to this, I can’t relate to this but I enjoy it.

When a film is subjective enough that one viewer can take something away completely different for another, no matter whether the reaction be positive or negative, it’s worthwhile: because that kind of art has nothing to do with the artist and everything to do with connecting.

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