Holy Motors follows a mysterious man called Monsieur Oscar, who is chauffeured around Paris in a limousine and plays various roles over the course of a day - from a beggar woman to a father to a monster from the catacombs. Each stop is like a performance in a different reality, although it is not clear which one is "real" - or whether there is a reality outside the roles at all.

The film deconstructs identity and shows people as changeable beings constantly playing with masks. In the process, Holy Motors becomes a reflection on cinema itself: on acting, illusion, artificial life in front of the camera. Monsieur Oscar becomes a symbol of modern man - torn between roles, expectations and a void of meaning.

Leos Carax uses surreal imagery and a deliberate renunciation of linear action to address the loss of authenticity in the age of performance. Holy Motors asks what remains of people when everything becomes a representation - and what remains of cinema when it can no longer believe its own reality. The film is a melancholic, poetic and radically open commentary on art, identity and the end of a certain idea of reality.