Before this year's Cannes announcement of the award-winning film list, Leo Carax was still the subject of discussion only in some of the fan community, and fans familiar with him would quote the "Film Handbook" comment of that year: "A mountain that occasionally protruded from the French film land." This "post-new wave" representative of the film's unique style, personal experience is like a drama.
Carax, like many film masters, had no professional training, and after being born into a middle-class family in Paris, at the age of 13 he decided to abandon his original name, rearrange the combination with the letters of Alexander, Oscar, and Duppen, became Leo Carax, and broke off relations with his parents, of course, when we rearrange "Leos Carax", we also got "Oscar Alex", that is, "Alex's Oscar".
Because his original name was Alex Christopher Dupont, and Alex was the male protagonist of his future feature films.
In the years that followed, his experience gradually began to "new wave", watching old movies in the film archive, a large number of silent films and "new wave" works, perhaps there he recognized Godard across the screen, and since then he has formed a certain fate.
Less than 20 years old, Caraxsa began working for the Film Handbook, a job he was looking for to make his own films, and naturally left without staying long, but when he was in office, he did a picture report about Godard, which showed that before he became a director, there was a love for Godard's work.
Although the French media once hailed Carax as Godard's successor, he had the low profile of Hou Mai, and the maverick "madman" in the eyes of the media was completely different from the state presented by his own work in real life.
At first, Carax was known for making films as soon as they were in love, like "Boys Meet Girls" and "Bad Blood", one is a loose and small love story, the other is crazy love. The heroines of these two films were his girlfriends at the time, which he himself admitted, "Falling in love makes me have the urge to make movies."
After the heroine Juliet Binoche starred in the caraclax trilogy, the two broke up, and the heroine of his next "Paula X" was his new girlfriend, and from "Lovers of The New Bridge" to "Paula X", he was not only the focus of the production blacklist, but also the nightmare of investors.
But this is just one of his attributes, before the age of forty, he projected his addiction to love into the movie, telling about love and loneliness over and over again, the director who didn't feel like making a movie without feeling in love, at the age of nearly 50, got rid of the habit of creating because of the impulse to fall in love, he began to tell another story, let Denis Lavan play the Oscar again, only this time he was wild.
This "Sacred Carriage" is 13 years after the previous work, and after the carax manager fell silent, it changed.
His films are filled with a wild temperament, lonely and near-crazy characters, and there is also a death-like silence. What doesn't change is that he doesn't stick to the rules, he grasps the measure precisely, takes people beyond reality, shuttles between classes, and completes playing nine characters, from beggars to strange people, until the end of his family, he has been acting.
Carax brings the audience into a world where reality and performance are mixed, and even uses the actor's mouth to say the relationship between "I as an actor" and "the real me", but this way of expression makes many people not understand what the director wants to say after watching it, and obscurity has become his label.
Although Carax still maintains the style of not explaining too much about his work, and interviews are rare, he will still be asked in various places what contributed to "Sacred Carriage", to which he replied: "The fury of not being able to shoot for a long time". At this time, Carax retained his paranoia and refused to bow to capital.
But then he gradually began to accept the "not too complicated" condition of management, especially after he became a father, he decided that when people would mention obscurity again, he could tell them that it was a movie that even children could see, which also allowed him to say in one of the few interviews: "I can't understand my work, I am either too shrewd or stupid."
"Annette", which debuted in Cannes this year, is special, as a song and dance film, the main film is almost eye-catching in some ways, you can even see the different Dreif and Carax, the sixth full-length film from the film forty years that won him the best director in Cannes.
He confessed that when he was thirteen or fourteen years old, he discovered David Bowie and the Band Sparks. He had always wanted to make a film that focused on musical elements, but he felt that he had never been engaged in music creation, which was almost impossible, but he thought about it, he still had a lot of things he wouldn't do, and he couldn't operate a camera without understanding lighting.
So, to achieve this, he needs to wait for the right person, and this time he waits for Ron and Russell. He even bluntly said that they brought him not only music, but also ideas. That is to say, this story is not what Carax thought, but the two suitable people.
But there's one criterion for all of this, and that's That Carax's disdain for Broadway and Hollywood cabaret routines.
They need to make a different song and dance film, and the characters should sincerely express their ideas, rather than being pushed away. This sincerity has led many reports to bluntly say that this is a Film that belongs to Dreifer, and he shows a crazy natural force.
It's no wonder that when the screening was over, Carax and Dreifer shared a cigarette. It was Carax's fourth trip to the Cannes Film Festival, and in 1978 and 1979 he was a man peddling film magazines on the streets and beaches of Cannes, when he discovered Fassbender's films and met Chantel Akaman, but she didn't buy his Film Handbook.
In 1984, his hotel was close to the train station but far from the Corniche, and his film Boys Meet Girls won that year's Cannes Youth Film Award, and then thirty years later, he returned with "The Sacred Carriage.".
He's sixty years old, will leave at the press conference under the guise of going to the bathroom, will wish the next batch of victims of Critic Week a luck, will refuse to answer questions from various audiences who want to explain the work themselves, which may be Karaks, a director who fans want him to always be in the niche.
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