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Leos Carax’s 2012 film Holy Motors, is a rare film, as it leaves the audience with more questions that it resolves. Why does Eva die? Why are there web addresses on the tombstones? Is the protagonist really her father? The unresolved nature of the film is due, at least in part, to the unorthodox storytelling path it takes; following no conventional narrative structure, not a traditional story arc, three act structure or hero’s journey. The film may be best described as taking the form of a montage; a set of seemingly unrelated characters and scenes through which the audience derives its own meaning, as it subconsciously creates connections throughout. Indeed, the film’s only constants are the relative length of each scene, Celine the driver, the varying characters as portrayed by actress Denis Lavant, and importantly, the limousine, which serves as the vehicle through which we move within the film. As the film’s auteur, Leos Carax has stated that the film ‘is a way of telling the experience of life without using a classical narrative.’ Hence, through the various characters portrayed throughout the film, Carax attempts to show the immense range of human experience, as Lavant’s character moves between lives via a white limousine. The film’s establishing image sets this up to be the case, as Holy Motors opens on a shot of a crowd in the cinema, facing the camera as they would be the screen. This hints at the way in which the film is a reflection of life, as we, the audience, are positioned as the feature from the film’s inception; the audience is both the film’s hidden viewership, as well as it’s subject.