The Legacy of his Name: Self-allusion and Remake in Holy Motors and C’est pas moi, de Leos Carax
Abstract
This article consists of an analysis of the films Holy Motors (2012) and C’est pas moi (2024) by Leos Carax. In these works, the French filmmaker composes a cinematic testament through a fantastical metafiction and a Godardian film diary, respectively. Throughout both tales, we can identify a melancholic, nostalgic, and critical exercise of rewriting certain earlier works by the director himself, as well as some iconic narratives and images from the history of cinema. The theoretical-philosophical framework and the film and narrative analysis allow for the decoding of the meaning of the stories and the ideas they convey: artistic and vital affiliations, cultural heritage, and metamodernity.
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