Bordwell’s essay attempts to deconstruct the fundamental tenets of art cinema while drawing parallels to the usual narrative structures of classical narrative cinema, or the studio feature filmmaking seen in Hollywood since the 1920s. Much of the features which are considered “art cinema” stray away from the key aspects of classical cinema and standard narrative structure. In a sense, art cinema will tend to maniuplate and alter these key aspects in order to produce innovative, and authentic representations of the human condition. Aspects such as fixed cutting figures, mise-en-scene, sound, and cinematography are altered and manipulated in a way to produce a new-form narrative which often strays away from the typical cause-and-effect, hero’s journey, or lesson-driven narratives we see in pictures produced that we have seen throughout our lives. Most, if not all, the movies I have seen have followed a fixed narrative structure including: exposition, rising action, climax, falling action, and resolution but Bordwell explains that art cinema strays away from this mode of filmmaking, especially in regard to causal relations. The film’s he referenced such as “L’Avventura”, “A Bout de Souffle”, and “Bicycle Thieves” often had motivations or endings which were left unknown or up to interpretation which completely alters the standard filmmaking structure we often view and resonate with. The ambiguity within these films emulate the ambiguity seen in our daily lives. Many of the situations we experience and people we interact with do not have a clear or structurally outlined path. We often have to navigate difficult questions and scenarios in order to go about our lives and fulfill our potential, much like the characters within these avant-garde expressions of cinema. The psychological quarrels we often experience in reality and the undertones of sexual expression and looming questions about our own mortality and the prospect of death often appear according to Bordwell. 

The following reading delves into the creative decisions of Leos Carax and his 2012 film “Holy Motors”. One of the creative inspirations he referenced within this interview was the work of Franz Kafka. Importantly he cites the quote “There is in my apartment a door that I had never noticed until now”, as a key source of inspiration to the preamble of Monsieur Oscar’s journey, or the scene where Carax enters a theater and views the audience watching the film. Furthermore, I certainly saw parallels between Monsieur Oscar’s occupation and another famous Kafka quote: “I was ashamed of myself when i realized that life is a masquerade party, and I attended with my real face”. This statement certainly aligns with Oscar’s adventures since he never seemingly has a true sense of self or identity. He is chameleon-esc, changing his appearance, behavior, voice, and mannerisms depending on the assignment and the people he interacts with. Again, I can certainly draw parallels between this quote and my life since it is fundamentally impossible for anyone to know the real, authentic you. No one can read your mind or follow you until the end of time, thus everyone will have a different perspective or viewpoint in regards to your behavior, character, and the way in which you view yourself. I certainly feel that Carax explores this concept with the character of Oscar and the references to Kafka’s existentialism. Another reference Carax mentions in order to tie back to the way in which we feel internally is the usage of stretch limousines. While still ostentatious, Carax still refers to them as “good from the outside, but inside there’s the same sad feeling as in a whores’ hotel”. Much like the internal anguish within characters shown throughout the duration of the film. Lastly, an aspect of this interview which I found fascinating was the, “Beauty of the Act” subheading, since it provides a wonderfully simple synopsis to a film which is difficult to understand. Surrealist cinema always raises more questions than it answers but Carax’s summary stating that this film is about a contract killer who has to carry out ten hits in a day, working for the beauty of the act, and his creativity must shine through for each new crime provides a simple overview to the absurdity which ensues. Much like one of my favorite TV shows, Atlanta, created by Donald Glover, he describes the show as “Twin Peaks with rappers” a vast oversimplification for, in my opinion, one of the best surrealist TV shows ever released.