Uploaded November 2024 | Updated September 2026, 2 hours ago
French cinema firebrand Leos Carax has spent 40 years making galvanizing movies that float in the beautifully perplexing nether space between reality and artifice, from Boy Meets Girl and Lovers on the Bridge to Holy Motors and the recent musical Annette. In his new film, he lovingly evokes the aesthetics of Jean-Luc Godard, paying aptly cheeky respect to the late New Wave master, his own career, and cinema itself, rummaging through a century of movies to situate his work within a continuum of the medium. Rather than self-aggrandize, he uses this diaristic format for an iconoclastic and impudent inquiry into power, politics, and image-making that is at once wry and playful, oblique and deeply personal.
French cinema firebrand Leos Carax has spent 40 years making galvanizing movies that float in the beautifully perplexing nether space between reality and artifice, from Boy Meets Girl and Lovers on the Bridge to Holy Motors and the recent musical Annette. In his new film, he lovingly evokes the aesthetics of Jean-Luc Godard, paying aptly cheeky respect to the late New Wave master, his own career, and cinema itself, rummaging through a century of movies to situate his work within a continuum of the medium. Rather than self-aggrandize, he uses this diaristic format for an iconoclastic and impudent inquiry into power, politics, and image-making that is at once wry and playful, oblique and deeply personal.
