Leos Carax Movies

Directors Michel Gondry, Bong Joon-ho, and Leos Carax each direct a segment of this triptych feature about life in 21st century Tokyo. The saga begins with Gondry's segment, entitled "Interior Design," about a young couple who moves in with an old friend while attempting to establish themselves in Tokyo. Hiroko (Ayako Fujitani) and Akira (Ryo Kase) have just arrived in the city. They're eager to launch their careers, but first they'll have to find a place to stay. Though Hiroko's old friend Akemi (Ayumi Ito) opens her doors to the ambitious young couple, her boyfriend isn't exactly thrilled by the new living arrangement. As Akira takes his first steps toward becoming a filmmaker, the neon jungle beckons to Hiroko. Before long, Hiroko begins to experience a startling metamorphosis that instills her with a newfound sense of peace and purpose.

The second chapter, Leos Carax's "Merde," follows the debased exploits of an unsightly subterranean creature (Denis Lavant) who emerges from the Tokyo sewers to taunt and torment the unsuspecting denizens of the city. Stealing cash, pilfering cigarettes, frightening old ladies, and even going so far as to salaciously lick schoolgirls, the gibberish-spewing troublemaker dubbed Merde sparks a media frenzy that sends all of Tokyo into a panic. The situation spirals as Merde discovers an arsenal of hand grenades in his underground lair, and begins throwing them in the streets at will, creating an environment of total urban terror. Later, Merde is apprehended and pompous French magistrate Maître Voland (Jean-François Balmer) arrives to defend the deviant in a Japanese court. The only person capable of speaking his client's unintelligible language, Voland stands at the center of a media circus that soon engulfs all of Japan. When Merde is convicted by the court and sentenced to death, justice takes a turn for the surreal.

The trilogy winds to a close with Bong Joon-ho's "Shaking Tokyo," in which a reclusive pizza addict who hasn't left his apartment in over a decade falls for a pretty delivery girl at the very same moment an earthquake hits Japan. A so-called hikikomori who never dares venture outside, the lonely shut-in (Teruyuki Kagawa) subsists almost solely on pizza delivery. When a beautiful delivery girl shows up at his door and promptly faints when the ground begins to shake, it's love at first sight. Later, the agoraphobic man discovers that the object of his affections has become a hikikomori herself, and boldly ventures out of his apartment in order to declare his love. The moment he sets eyes on her, the ground starts to rumble once again. ~ Jason Buchanan, Rovi

Eight years after Les Amants du Pont Neuf (1991), which failed at the box office, Léos Carax returned with Pola X, a French/German/Swiss co-production with Catherine Deneuve and the young Guillaume Dépardieu in a story of love, incest, and descent into hell. Pierre (Dépardieu) lives with his mother in Normandy, not far from the banks of the Seine River where Victor Hugo's daughter drowned with her lover. The good-looking mother and son are happy, healthy, and wealthy, and they love each other deeply. Pierre is romantically attached to the beautiful and delicate Lucie (Delphine Chuillot) and visits her every morning with the motorcycle he has inherited from his father. One summer night, his mother tells him that she has chosen a date for his wedding. Overexcited, Pierre rushes through the night to break the news to Lucie. As he is speeding down the road, a strange creature with a familiar face suddenly leaps from the dark. She tells him in broken French that she is his sister. Pierre is shocked, but he decides to believe her and make up for the mistake of his father.

The film took its inspiration from Herman Melville's Pierre, or, the Ambiguities, which Carax read when he was 18, the same age as the hero of the story. The first part of the film sets an idyllic tone with a fairy tale atmosphere of life among the rich and beautiful. This is in sharp contrast to the world Pierre plunges into when he meets Isabelle (Katerina Golubeva), who claims to be his half-sister. Carax, who has been against nudity in his films, shows the two literally engaging in mutual oral sex onscreen, although this was not included in the original script. (One may insert here that Golubeva, who is known from Sarunas Bartas and Claire Denis films, was the girlfriend of Depardieu in real life.) The fusion of the two leads to the creation of Pierre's book. This is a highly stylized film that is at times reminiscent of German expressionism. It is constructed in opposites: black and white, high and low, good and bad. Elements of fantasy are mixed with reality. Carax tries to introduce a new film language, often at the expense of the emotional quality of the film. Despite its weak points, it is still a work that exhibits the exceptional talent of its director. Golubeva exudes a certain magic in depicting the half-real, half-imaginary character of a vulnerable and somewhat lost Madonna. The title is an acronym of the French title of Melville's book, Pierre, ou, les Ambiguites. The film screened in competition at the 1999 Cannes Film Festival. ~ Gönül Dönmez-Colin, Rovi

Paris has its share of homeless people, and some of them live in little communities near the oldest bridge in the city, the Pont-Neuf. In the story, street-person Alex (Denis Lavant) has passed out along a much-traveled road, and a taxi has slightly injured his leg, which was in the way of traffic. When he limps back to his usual resting spot under the bridge, he finds a surprisingly unspoiled young woman (Juliette Binoche) wearing an eye patch sleeping there and confronts her about it. They become acquainted, and he learns that she is Michèle, a painter from a good suburban family who has taken to the streets in order to practice her art uninterruptedly until the time when she will inevitably lose her vision to a degenerative eye disorder. Alex earns his booze money through doing street theater: fire-eating and gymnastic routines. The two become buddies and lovers, share many adventures while practicing the arts of street survival, and even have some fun along the way. So close do they become that, when Alex is imprisoned for a violent act of jealousy, a newly cured Michèle visits him in prison and promises to meet him on the bridge when he is released. Despite this film's setting among the poor, it cost a lot of money to make: one of the big costs was the need to build a replica of the Pont-Neuf. ~ Clarke Fountain, Rovi

This critically acclaimed French drama blends film noir and science fiction elements in a story about a strange and deadly plague. A sexually transmitted disease called STBO is sweeping the country; it's spread by having sex without emotional involvement, and most of its victims are teenagers who make love out of curiosity rather than commitment. While a serum that can treat the disease has been formulated, it's been locked away in an inaccessible government building, and most of those suffering can't get at it. A woman known as "The American" (Carroll Brooks) has hired Marc (Michel Piccoli), who is deep in debt and desperate for cash, to steal the drug; Marc enlists the aid of Alex (Denis Lavant), the teenage son of one of his close friends, to help pull off the robbery. Alex is in love with Lise (Julie Delpy), a girl his age that he's been involved with, but he finds himself attracted to Anna (Juliette Binoche), Marc's younger lover who is determined to stand by her man. Mauvais Sang received the Alfred Bauer Prize at the Berlin International Film Festival and the International Fantasy Film Award at the Fantasporto Film Festival. ~ Mark Deming, Rovi