timmy_501 With previous films including Mauvais Sang and The Lovers on the Bridge, Leos Carax's characters were constantly on the brink of madness, or at least a disturbing single-mindedness. This is a trend that Carax continues and expands with Pola X. In this adaptation of Herman Melville's Pierre, or The Ambiguities, Carax depicts characters whose madness is palpable as their behavior becomes more and more erratic. Main character Pierre, a successful writer who lives in a mansion on a rambling estate with his perhaps too adoring mother, abandons his family and loving girlfriend Lucie in order to strike out on his own with Isabelle, a foreign vagrant who claims to be his sister. Things take a dark turn quickly as his sister's odd companions get him in trouble with everyone he meets and his relationship with Isabelle becomes sexual. At the same time, he has trouble with his writing and becomes intimately involved with an unexplained cult. Eventually it becomes clear that he has left his old life because he felt that his way of life was not true enough, though ironically he is repeatedly accused of being an impostor in his new life, something that never happened before he set out trying to embody the truth. Later on, things take a turn for the darkly comic as Pierre introduces Lucie to Isabelle as his cousin in order to allay her suspicion about his relationship with her—given their odd relationship, she logically ought to be just as worried about his attraction to a female with a family connection to him. After this point, however, all logic is abandoned as Pierre and Isabelle become more and more unhinged. The problem with Pola X isn't just that it's generally inexplicable if not altogether incomprehensible because of rushed and underdeveloped characters and events, it's that Carax largely abandons the visual style he put to such great use in his earlier films, opting instead for a drab aesthetic that emphasizes the sordid misery of the characters' surroundings. Even the few unusual shots he employs here seem like half- hearted rehashes of better scenes in his previous films. Still, even lesser Carax is of some interest.

someguywithnobeliefs Pola X is a beautiful adaption of Herman Melville's 'Pierre; or, the Ambiguities'. The comments on here surprise me, it makes me wonder what has led to the overwhelmingly negative reaction. The shock value is the least appealing thing about this film - a minor detail that has been blown out of proportion. The story is of Pierre's downfall - and the subsequent destruction of those around him - which is overtly demonstrated in his features, demeanour and idiolect. The dialogue and soundtrack set this film apart from any other I have seen, and turn a fundamentally traditional storyline with controversial twists into an unforgettably emotional epic.I can't stress enough the importance of disregarding everything you have heard about this film and watching, as I did, with an open mind. You will, I hope, be rewarded in the same way that I was. I felt on edge and nervous from around the half-hour mark, however the film is far from scary in any traditional sense. It will leave you with 1,000 thoughts, each of them at once troublesome and thrilling. I know I'm gushing here, but I feel the need to make up for the negative perception of this film. It's the best I've seen all year.

MisterWhiplash I kept thinking watching Pola X, the first Leos Carax film I've seen yet, what it means for a film or any work of art to be "pretentious". The dictionary defines it as being or seeming to be "expressive of affected, unwarranted, or exaggerated importance, worth, or stature". Carax does indeed want his film to be important, and sometimes he does go to exaggerated lengths to get his results, of the 'artsy-fartsy' kind that one would only find in small art-houses in NYC (in fact, this was probably a film that screened for at least a month at the Angelika in Manhattan). But there's an intriguing conceit that Carax has with his material as it goes along: it's almost as if he's critiquing pretension, mocking it in subtle ways as he shows his disparate and desperate character heading towards an uber tragic end. It's a story that unfolds too thickly in hopelessness, where the characters don't seem to mind it as there is hope for two of them, at one point, that things will get better until they start getting horribly worse, sometimes in the abstract. Try as I might have at the half-way point to dismiss it as rambling pseudo-poetic French dreck, there's an appeal and watchable quality to it all, and I'd almost be inclined to call it a good effort...Almost.The story is taken from a Herman Melville novel, though I'd wonder how much exactly was changed in the adaptation (incest, anyone?) Pierre (Depardieu, son of Gerard) is a novelist engaged to beautiful Lucie, and lives with his mother (Deneauve), but is torn away after finding one night in the woods that he has a long lost older sister who was raised elsewhere in Europe. He moves with her to Paris, and after getting rejected by a cousin (Lucas, disappearing for a long while in the film then returning in act three, or five, or whatever), go to live in a big warehouse type of loft where a weird avant-garde rock band practices and records songs. Meanwhile, a new crazy book is in the works, a child that was tagging along with another woman (I'd assume Isabelle's friend or caregiver or something) is killed randomly, and pretty quickly Pierre goes as insane and rambling as his book. Now, granted, a lot of this is presented matter-of-factly, but there is a mood that Carax creates that makes it "affected". There's a tint, for example, that sometimes makes characters look all blue- which works more or less in the revelation of who Isabelle is to Pierre in the woods- and scenes that aren't totally clear as to whether they are really real or imagined (Deneuve's fate on a bike is shot and executed almost as a parody of itself). And Depardieu himself is like a walking pit of uncertain angst. He plays him adequately enough, but there is the creeping sense, as with the film a lot of times, that there isn't quite as much dimension as one would hope, or at least would think the filmmaker would recognize.Not that this is a total deterrent. I like when a filmmaker isn't afraid to plunge the viewer into unconventional duress and ambiguity, and for at least a few scenes Pola X does feel thriving with a sense of drama infused well by the exquisite but anxious camera-work (the child's death is one of these, as well as the climax that gains momentum in a style comparable to Strosek, minus the chicken). And the actual band in the movie itself seems to be Carax commenting on what he must realize is over-reaching in other sections; is it to be taken seriously, really, when we see the lead singer or whomever it is doing a weird body movement while the abdomen is covered in red? There's even a trippy dream scene with characters in a river of blood that treads that pretension line: you can sense the filmmaker behind it is so happy with how it came out as mad as it is, and it's actually quite an eye-full. Carax also pulls off one of the most explicit sex scenes in film history (full penetration, among other acts of foreplay), and this oddly enough does serve an emotional point- it feels eerie in the light, but strangely intimate.All of this adds up to what then? Is Pola X worth watching? If you're familiar already with/admire Carax's work, it's a pretty safe bet as an act of semi-experimentation. For a first-timer to his work, like myself, it's a hit or miss experience, but one I wasn't too upset at having. At the least, one can say, Carax didn't go to the lengths of the man who directed a film Carax once starred in: Godard's King Lear. 6.5/10

nini_ten Have you ever grown up hearing a word or two about mysterious, weird french films and had this imaginary assumption at 13 how weird a film could be? Well, 4 or 5 years later when I saw Pola X I realized this was a film that got there. I grasped that concept of film noir spook and the B movie spirit taken to the highest level. After I saw it I was like, what's for breakfast? but now thinking back I realized that I absolutely love this film. I'm not another imdb user who just saw the movie two minutes ago and decided to write a word or two about it. I'm someone who remembers this movie. And I think ten years later the fan base is definitely gonna be huge for Leos Carax. Just think of the title:Pola X, cool cultish name right? Anyway, I think this film is really about delivering a feeling and concept for us rather than delivering a message. It's also extremely romantic and sensual. A classic french film. Thank to god this kind of movie could actually be made.