Post By Alexis Lebrun May 14, 2022
Last July, Julia Ducornau became the second woman to receive the highest award at the Cannes Film Festival. An award that could not have been more desirable for a French director who has rocked French cinema since his debut. But TITANE is not a film that moves things. It takes everything in its path and no matter what you think, you are unlikely to forget it.
A mixture of genres
We can say that Julia Ducourne’s second feature film started on the floor. Behind her father’s car, a little girl tries her best to get her father’s (Bertrand Bonello) attention. Until the tragedy, a violent accident sends the child to the hospital, where they save his life by sticking a titanium plate to his skull. The operation left him with a strange scar on his right ear, but above all gave birth to an extreme attraction to cars. Once she became an adult, this young woman named Alexia (Agathe Russell, unknown and completely crazy before the movie) took her androgenous figure to the tuning parlor where she danced on the hood of the car in very little attire, becoming the object of desire like the others. For the lustful gaze of the male audience present, a scene that is the subject of a technically stunning sequence shot.
But don’t be fooled by the look: Alexia is not a pretty, fragile showgirl who blends in with the traditional patterns of femininity. He’s actually a horrible serial killer who specially kills his prey, and who prefers to lie down with a fire truck than a firefighter. In other words, the first part of TITANE is wildly free, but it will not be seen in public (the image is prohibited for children under 16). Involuntarily pregnant and wanted by the police, Alexia then crosses the road with Vincent (Vincent Lyndon), the head of a fire station, whose son (Adrian) has been missing for ten years. The heroine then creates a radical physical transformation to assert herself and Vincent believes in it. At the same time Alexia changes the genre, the film is transformed into a spectacular way to portray the emerging phylloxera love between a father who is devastated by the loss of his son and a hybrid creature halfway between an instrument and a human body. The fetus of a loving family with this adopted home.
Victory of Julia Ducornau
If TITANE is a tough movie to explain, it’s really because it’s different from any other, and you have to feel it to be sure. Of course, this could be linked to David Cronenberg’s Crash (1996), which caused a great deal of controversy in the ears, all of whose characters were elated by the car accident. It’s no secret that Julia Ducornau is a fan of the Canadian director who is making a highly anticipated return to Croydon with LES CRIMES DU FUTUR (2022) this year. But the way he approaches Body and Metal is much less cold than Crash’s Cronenberg: Titan is a sensitive and brilliantly queer body horror film, but it shouldn’t be limited to the genre movies. Like her character identity, Julia Ducornau blurs the tracks and, above all, questions the toxic masculinity and opens countless doors (Vincent Lyndon is valued for his acting alone and for his transformation into a bodybuilder on steroids and a doped firefighter). (Blood Family vs. Selected Family) or Pregnancy Violence (Desired or Not).
In some ways, he is continuing the work he started with GRAVE (2016), his heinous first feature film, which has already entered the realm of a completely banned, cannibalism and caused a strong reaction at the festival (including Kan). We discovered in the poster Garrison Marilier, who has a supporting role in TITANE, and who already appeared in the first short film Julia Ducornau, Jr. (2011), was also featured in Kanye, as well as MANGE, the telefilm Virgile Bram for CANAL + in 2012. Director with. Like TITANE, GRAVE and JUNIOR will be appearing on CANAL + as part of a week dedicated to “mutant movies”, which will also boast the creative bubble of recent French genre films. Notable are LA NUÉE (Just Philippot, 2021) and TEDDY (Ludovic Boukherma and Zoran Boukherma, 2021). When she took to the stage in 1993 to become the second woman after Jane Campion to win the Palme d’Or for LA LESSON DE PIANO EX-aequo–, Julia Ducornau delivered a very impressive speech thanking the jury for “recognizing” the presidency of Spike Lee. Through this award we need our interest and visuals for a more inclusive and fluid world, to call for more diversity in cinema and in our life experiences, and […] We thank him for letting the monsters in. “
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