We see a few seconds of a black and white, silent art film. There is a dark movie theater filled with people watching this film. The camera mostly remains on the audience. Cut to a man sleeping on twin bed with a sleeping dog next to another empty twin bed with the same sheets. He gets up and looks out the window and we see he is next to an airport. One of the walls is covered in wallpaper with skinny bare trees. He puts his ear to the wall. There is a hole in the wall and he looks through it but we don't know if he can see anything. He has a metal instrument on the middle finger of his right hand. He sticks the instrument into the hole in the wall. His hand shakes a little and he turns the instrument. This allows him to open a door in the wall. The dog joins him as he steps through the door. There is a set of double doors and he steps through them. It seems as though he has stepped through the fire exit on the balcony of a movie theater, presumably the theatre that the film opened in. The balcony is empty but the lower part of the theater is full. Cut to a new scene; daytime, a house, a family outside. The bids farewell to his children as he leaves for work. The man walks to a limo. The driver, Celine, is waiting for him. The man's name is Mr. Oscar. Holy Motors就是Hollywood。电影死了之后。一场对人生“共谋”机制的悲鸣。谈《神圣车行》的科幻设定（含全部场次梳理）。干翻这个宇宙——Fernando Ganzo评《神圣车行》。《神圣车行》与 “电影” | 卡拉克斯于2012洛迦诺电影节的访谈。Carax的情境写作。卡拉克斯的“阿門”。角色扮演生活戏， 二零一二最佳传。。<神圣车行>几个可能的灵感线索。 黎明到夜晚，再从夜晚到黎明，奥斯卡先生在自己的生命中总是在不断地变换着角色。他时而是大老板、时而是杀手、时而是女乞丐、时而又是怪物或者是居家男人。就好像是旅途一般，他总是在这些人物中间乐此不疲。 看上去他是在表演、拍电影、演话剧——但是，摄像机却总是缺席。他很孤单，只有赛丽娜陪伴他。赛丽娜是位身材修长的金发女郎，总是在轮胎和引擎的背后，从不现身。她开着巨大的汽车在巴黎和巴黎周边到处转悠。看上去，他就是像是一个杀手，完成着一个又一个目标，从不停歇。 为了追求那些虚无缥缈的东西，为了寻找奥斯卡背后的动机，这个女人的背后似乎隐藏了太多的玄机。有人知道他的家在哪里么？有人知道他的家人么？有人知道他什么时候会停下来么？
