Before I do my deep dive into the meaning and reviews of these two independent films (The Comedy and Holy Motors both from 2012), let me take a crack at the meaning of each. To preface though, it’s pretty coincidental that they came out the same year though that may be where the similarities end.
The Comedy is the lesser of the two films as far as acclaim (a handful of nominations at American film fests, more notably nominee for Grand Jury Prize at Sundance) directed by Rick Alverson (whose most recent was a Jeff Goldblum movie called The Mountain) and stars Tim Heidecker as a cringe worthy example of affluenza and male toxicity. What’s the purpose? I guess to show that an abundance of wealth plus abandonment sometimes equals a man-boy who is stuck in Peter Pan mode for eternity.
Holy Motors made more of a splash (one win and one nom at Cannes) and is written and directed by my new favorite of the year Leos Carax (won for director at Cannes for Annette). According to the recent NY Times article I’ve read on Carax, he’s got the message that he can’t tell a story, but her certainly can add to and channel improvisation into one (The Mael Brothers/The Sparks Brothers wrote Annette). Holy Motors stars Dennis Lavant who own awards for this performance and rightly so-his rubbery face shape shifter of a performance literally takes on the personas of 9 different characters. What does Holy Motors mean? Well? Head scratch? That we are constantly playing different roles in life based on the expectations around us and perhaps if we’re truly living, push the boundaries of ourselves.
I’ll get back to you on any other epiphanies I have after research.
Two Peas (or Indies) in a Pod: “The Comedy” and “Holy Motors”
