Living On A Lighted Stage Approaches The Unreal

Holy Motors (Carax, 2012)

Continuing my paltry coverage of the Philadelphia Film Festival, I want to take a bit of time to write about one of the craziest theatrical experiences I have had in quite some time. Specifically, it all happened when I sat down to watch Holy Motors, the audacious new (mostly French) film from Leos Carax. Much like Beyond The Hills this one generated heaps of positive buzz at Cannes earlier in the year despite not coming away with any of the major awards. But unlike the relatively straightforward, though still complex, Beyond The Hills, one cannot as easily describe all the intricacies and surprises on display in Holy Motors, and I wouldn't want it any other way.

The Hounds Are Baying, I Don't Remember There Being Any Hounds Around Here

Beyond The Hills (Mungiu, 2012)

On Saturday I was able to have my first ever experience at the Philadelphia Film Festival, and even though I only saw two films out of the many offered I definitely picked two high quality movies that I can't wait to write about. The first film on my docket was Beyond The Hills, the latest from Romanian filmmaker Cristian Mungiu (4 Months, 3 Weeks, 2 Days). I knew relatively little about this film going in aside from its director, but after poking around the internet after the screening I noticed that it actually took home the Best Screenplay prize at Cannes this year along with a shared Best Actress award for its two leads. But aside from that I had little idea of what to expect, and as usual that tends to be a strength.

Nobody Gonna Steal My Head Now That I'm On The Road Again

Drive (Winding Refn, 2011)

I love driving. I don't enjoy gas prices or the idea of potentially stepping into a metallic death trap each time I get behind the wheel, but there's an undeniable allure for me of being insulated in a world full of music. A personal retreat for my mind. It is with this attitude that I approached Drive, Nicolas Winding Refn's Cannes award winning art house affair that chronicles an episode in a nameless driver's life. Here's the thing though, I don't really care for cars all that much. So as the film started playing I really was unsure exactly what I was going to be getting from this much buzzed about genre film. And you know what, even though I don't think that I benefited from knowing very little about the specifics of Drive, I would not blame you for waiting to read this - or any other - review of the film before checking it out. If you want to preserve that surprise then know this: Drive is great and you need to see it. And now, let's light this candle.

The Power In Your Voice. Your Rough Touch. You Keeping Care Of Me, Keeping Watch

The Tree of Life (Malick, 2011)

"Where wast thou when I laid the foundations of the earth? declare, if thou hast understanding."

And with that brief verse from the Book of Job, Terrence Malick's latest - Palme d'Or winning - film The Tree of Life begins to lay the foundation for a thorough examination of humanity. Moments later we have the primary female voice, via trademark Malickian voice over similar to Badlands and Days of Heaven, posit a thesis that carries throughout the film: during life humans must either walk the path of nature or the path of grace. As we are thrown in to a small 1950's American town the movie makes it blatantly apparent that it casts a wide net, takes on a scope as large as life itself. It really is a beautiful juxtaposition to open the film with, starting as wide and expansive and then keeping those ideas contained to an incredibly specific, focused area. Malick presents the quintessential American life, 1950's USA white, middle class suburbia, and reaches for an understanding of the universal. And from there the film only grows.