Holy Motors von Leos Carax

Alles ist möglich. Ein Film, wie die Schachtel Pralinen von Forrest Gump, der durch einen scheinbar unsichtbaren roten Faden, der nur auf der interpretatorischen Ebene zu existieren scheint, zusammengehalten wird. Bei Leos Carax regiert die völlige dramaturgische Freiheit. Seine Bilderströme sind assoziativ, seine Inszenierung ist eine Wundertüte. Holy Motors ist ein Film, der das Kino verehrt und gleichzeitig verurteilt. Die wilden, selbstreflexiven Sprünge, die sich der Film praktisch im Minutentakt erlaubt mögen für den ein oder anderen Zuseher zu viel des Guten sein, aber der in Cannes gefeierte Film des 51jährigen Franzosen ist einer der bedeutendsten Filme des Jahres. Insbesondere, weil es diesen roten Faden tatsächlich gibt.
Ähnlich wie in Cronenbergs Cosmopolis fährt der Hauptcharakter mit einer Limousine durch eine vielleicht gegenwärtige/vielleicht dystopische Welt, ähnlich wie bei Cronenberg übt der Film massive Gesellschafts- und Medienkritik, sobald man sich in dem Gewirr aus Begegnungen und Momentaufnahmen zurechtfinden kann. Das war es aber auch schon mit den Parallelen zwischen den beiden Filmen, denn Holy Motors  besitzt eine Humanität, Vitalität und Freiheit, die dem kühlen und bemüht wirkenden Robert Pattinson-ist-doch-cooler-als-ihr-dachtet-Vehikel des kanadischen Kultregisseurs völlig abgeht. Carax führt den Zuschauer in einen sich ständig drehenden Kreis, der Emotionen, indem man ab einem gewissen Zeitpunkt immer wieder von vorne angespannt erwartet, ob man gleich lachen, weinen oder nachdenken wird. Manchmal muss man alles gleichzeitig. In seiner surrealen Episodenstruktur erinnert der Film manchmal an Buñuels Das Gespenst der Freiheit, aber eigentlich erinnert der Film an nichts, was man bisher gesehen hat. 
In Carax‘ Filmographie gibt es zwei wiederkehrenden Charaktermotive:  
Den (total) verrückten Mann und die begehrenswerte, traurige Frau.  
Sein „verrückter Mann“ ist wie so oft Dennis Lavant, der in diesem Film in elf verschiedene Rollen schlüpft, die alle durch ein Masken- und Kostümsortiment im Inneren der Limousine zusammengehalten werden und durch die prinzipielle Idee des zerstückelten Schauspielers bzw. Menschen. Lavant besticht durch eine Körperlichkeit, die manchmal schier aus der Leinwand zu springen scheint. Holy Motors zwingt den Schauspieler förmlich dazu eine riesige Bandbreite an Facetten zu zeigen, die Struktur des Films erfordert völlig Auslieferung und Einfühlung, die mit einem Ruck aufgebrochen werden muss und in rasender Geschwindigkeit gewechselt werden muss. Es ist auch ein Film über das Wesen des Schauspielers, eine Parabel auf die Schauspielerei und in deren Zentrum steht mit Lavant ein Mann, dem keine Grenzen bekannt sind, der sich scheinbar mit geschlossenen Augen durch den Film tragen lässt und ein beeindruckendes Ergebnis abliefert. Die begehrenswerte Frau wird in Holy Motors von mehreren Schauspielerinnen dargestellt. Carax versteht es, wie kaum ein zweiter, Frauen zwar als das Objekt der Begierde zu installieren, aber ihnen durch eine einfühlsame, präzise Beobachtung einen eigenständigen Charakter zu geben. Seine Frauen haben Schwächen, aber in ihre Verletzlichkeit oder Naivität liegen oft ihre Reize. Er verliebt sich (im wahrsten Sinne) in seine Schauspielerinnen und erforscht ihre Gesichter und Körper nach einer Wahrheit, die er dann in einem destruktiven Anfall vernichten kann. Eva Mendes, Kylie Minogue, Edith Scob und eine wundervolle Elise Lhomeau tragen alle eine Trauer in sich, die sie begehrenswert macht. Gleichzeitig wird mit ihnen die Rolle der Frau thematisiert.
Den Film zu interpretieren halte ich für anmaßend. Man kann nur Eindrücke und Assoziationen schildern. Holy Motors beschäftigt sich mit der Welt in einer ständigen Beobachtungssituation, einer Welt, in der die Kameras verschwindend klein werden, aber wir uns ihrer Existenz immer bewusst sein müssen. Es geht um Schauspielerei, das Wesen des Schauspiels, der Wahnsinn in der Herausforderung unterschiedliche Rollen in kurzer Zeit zu spielen; genauso spielen alle Menschen diese Rollen. Sie wechseln und manchmal würde man sich wünschen, dass man eine Akte bekommen würde wie im Film, in der einem die Familie, Freunde und Geschäftspartner erklärt werden, bevor man sie jeden Tag sieht. Wir leben in einem Zeitalter der Bruchstücke, wie das zerstörte Puppenkabinett am Ende des Films, in einer Welt der ständigen Selbstmultiplizierung, wie in der Szene in der Lagerhalle. Es ist, als hätten wir mehrere Leben. Wir entfremden uns vor uns selbst und werden müde, wir handeln nach Mustern, fast automatisch und motorisiert. Unsere Emotionen werden auf Abruf geweckt und entsprechen bestimmten Vorstellungen. Insbesondere im Kino und darum geht es Leos Carax offensichtlich auch. Film als Medium, das Menschen ausstellt, auf der Suche nach Bildikonen. Carax bekämpft das Kino mit cineastischen Mitteln. Seine Stille ist immer die totale Stille, seine Musik trifft einen ins Mark. 
Dabei erlaubt sich der Regisseur immer wieder Ausflüge in den Wahnsinn. Einen Wahnsinn, der ihn am Leben zu halten scheint. Hier steht ein Filmemacher, der schreit: Ich bin frei. Fangt mich doch. Ihr bekommt mich nicht. Dass es noch Leute gibt, die diesen Wahnsinn fördern, ist von einer derartigen Wichtigkeit, dass man ihnen dankend die Füße küssen sollte. Das Kino war gut gefüllt, weil es eben immer noch bzw. gerade heute genug Leute gibt, die am Wahnsinn interessiert sind. Weil das Leben eben auch so ist, wie eine Schachtel Pralinen. Aber wie kann man gleichzeitig eine Hommage an das Kino liefern und einen Abgesang auf dessen Existenz? 
Der Regisseur bringt es auf den Punkt:
„Cinema is my country but it is not my business“

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