This is How Movies Should Be Made

Lack of good storyline.

What a freaking movie. So many twists and turns. Absolutely intense from start to finish.

Go in cold, and you're likely to emerge with your blood boiling. This has to be seen to be believed.

Well I know I am the only one till now who is going to write against this movie so I don't anticipate any appreciation but who cares.First of all, I'll be completely honest with you I am not a much fan of foreign specially art type movies.The only reason I watched this because I like actresses July Delpy and Juliette binoche.But this movie sucked completely,I mean you can find this movie with the tags sci fi(just some laser rays),thriller(absolutely not),romance(kind of but ewww!!!),music(well honestly sometimes I was waiting for someone to speak) and blah blah. The main thing that struck me is why a hero had to be so ugly or may be he was shown , he has an awfully thin face black teeth with big gaps and anorexic body I mean most of the time I couldn't look at him and to add to misery two old men with two such completely gorgeous women Ohh GODNow as per the cinematography goes yeah it is different and I couldn't comprehend sometimes.The only colours I could remember are Blue and red. And yes if you think that this movie is thriller then completely no,they say everything that is going to happen and you just have to wait and let the time pass.I didn't find it thrilling a bit.If you are someone who likes to watch oceans ,MI ,JAMes bond then stick to those watch them again and you wont get disappointed

'By the time you finally learn how to live, it's too late.' This brilliant, bizarre, unique film is one more proof that Leos Carax is a genius. The film is so extreme in its technique and imagery that it can be placed in no category. Everything about it is original, even its derivative aspects. Carax is unconventional even when copying or echoing. Sometimes the film is so mannered and arch that it resembles a cartoon strip. But this is playfully misleading. At other times, the film is desperately emotional and heart-rending. It even has hyper-realistic close-ups of microscopic details. The lighting is crisp, hyper-real also. It is so hyper-real that it is utterly surreal. It is designed to oscillate between the real and the imagined constantly, at an ever increasing rate, in order to drive the viewer mad. Soon the viewer will be almost as insane as the director, or so the director hopes, and then the viewer will at last understand. One of the aims of the director is to reduce the viewer to pulp, but not just any pulp: he must be reduced to pulp fiction. Everything is a joke, but also everything is serious. Nothing has only one side to it. The heavily stylized approach is shown in every respect. The sets are carefully colour-coded, with red a major theme, appearing in ties and on walls, in velvet, in blood, often contrasted with black. There is a spectacular, manically exciting sequence where the young hero (Denis Lavant) impulsively runs down the street doing a spontaneous dance to a David Bowie song, and the camera tracks along beside him for a very long time. This kind of 'moving mania' (not unlike a totally berserk form of 'movie mania') has the restless and impassioned insistence upon constant motion that one sees in his next film, 'The Lovers of the Pont Neuf' with the speed boat on the Seine and the fireworks. In the story, also written by Carax, we have so much influence of Andre Breton's novel 'Nadja': love for the impossible woman who is obviously insane in her irresistibly fascinating way, chance encounters, the miraculous erupting in everyday life, impossible visions (when the hero first sees Juliette Binoche on a bus, but cannot make out her features properly through the glass, and yet knows that he loves her already because he 'feels' her). We have the impossibly beautiful Julie Delpy aged only 19, and already in her sixth film, with the unformed face of an infant, and yet her eyes deep pools of passion already, the eyes of a passionate child in that perfect Madonna face. Juliette Binoche is 22 but looks twelve, and her beauty is greater even than that of Delpy's, we cannot take our eyes off her, her calm is the calm of a lake when there is no wind, her face is the face of a lake with no clouds, her beauty is the beauty of a lake in the sunset, the sleekness of her movements is that of a fish glimpsed for a moment as it leaps above the surface of that lake. The story is purposely mocked by the film, its pretext of a thriller plot so absurd that we are encouraged to laugh, realizing there is no plot, there is only life. A virus is spreading: it is killing those who make love without loving, and the vaccine must be stolen. Such is the 'plot'. There are various inside jokes. The director himself plays 'the neighbourhood voyeur, who peeks through the window every night', a fine rebuke of the director against himself. Then there is an earnest conversation is a café where a hardened killer and gangster suddenly breaks off and insists that he sees Jean Cocteau on the other side of the room with his back turned, until he is reminded that Jean Cocteau is dead. There are many intensely stylized shots of the backs of heads. Features and faces are often masked: at one point, Binoche peeks through a hole she has torn in a paper napkin. In another scene, Delpy has a scarf stretched across her face below her eyes for the entire time. There is an interlude in the film in the middle of the night, when all the characters in the story are asleep. So of course, Carax being Carax, he shows them all sleeping in their respective beds in their respective abodes, just to let us see that side of them; the sinister American woman gangster ('the Americaine') has her lipstick all smudged as she lies unconscious, lost in her undoubtedly vicious dream. The young lead is called Alex, which is Carax's real first name (the name Leos Carax being an anagram, the man Leos Carax being an enigma, Alex Dupont being Leos Carax, this film being Alex Dupont being Leos Carax being a voyeur). Everything is original. It is true that some of it verges on farce, saved at the last minute by Carax's brilliance from jumping in front of the Metro just as a man does in the opening sequence. Carax is always about to throw himself and his film in front of the oncoming train. He is always about to throw his train in front of an oncoming film. He is always about to be serious, he is always serious. He is a daredevil. Just as his characters throw themselves into the sky from a plane, parachuting for no evident reason, with Binoche passing out before she can pull her ripcord but being saved by the hero who clutches her in his arms and pulls his for them both (we see shots of them looking down from inside the parachute, and how he filmed those I really cannot imagine), so Carax pulls his own ripcord over and over again, with every minute of the film, and saves it repeatedly from tumbling to earth, with the awe-inspiring audacity of his manic, uncontrollable creativity.

He is a genius with images He is entwined and tormented He is Leos Carax, a true comicstrip kind of cinematographer He is great in all his movies, but this one is the best My all time favorite

You would not see such a treatment to a film in mainstream Hollywood, perhaps not even in independents. There are all the elements of a gangster movie and then some: the fall guy, the family talk, the villains visit (the boss is an American woman), the secret ploy, the deftly heist, the car (and motorcycle) chases, and flying of bullets. Writer-director Leos Carax spared no expense in delivering his stylish French gangster film with pizzazz - he included a bold parachuting from a plane aerial sequence, all this in addition to his usual stock of heart and soul characters, and graphic cinematography with visual poetry. The central pursuit of love is never left out in a Carax story. In fact we have more than double dosage here: Denis Levant's Alex has Julie Delpy's Lise faithfully haunting him, besides his loving attraction to Juliette Binoche's Anna, who is hypnotically in love with Michel Piccoli's veteran gangster Marc. Carax's script and dialogs are well polished (the subtitles did do justice). There are mentions of Haley's Comet; repeat references to hot weather; hi-tech allusions of "Darley-Wilkinson" with moneymaking "STBO" cure to a deadly virus. There is a certain playfulness to the tone of the whole film: besides demonstrations of Alex's ventriloquial skill, there are love interludes; pop music delivery with frames of Levant's foot a-running and dancing; casual sing-alongs in a convertible during an escape; undying exchanges while gut's a-bleeding; Hans Meyer, playing Marc's partner Hans, provided dashes of humor through his presence. This is definitely a film to appreciate. "Mauvais Sang" was made in 1986 and many of its elements and scenes were mimicked in later Hollywood/independent flicks, affirming the creative genius in Leos Carax, a French filmmaker extraordinaire. Thanks to Landmark Theatres in the Bay Area, foreign film goers in San Francisco were given a chance to see all four of Leos Carax feature films. Bravo!