![]() He walks away unscathed, while she ends up with a titanium plate in her head and a dangerous attraction to motor vehicles. The film opens with a violent car crash involving a young Alexia and her father, who seethes with disdain at his daughter's image in the rearview mirror moments before her head nearly breaks through the window. 'Reclaim the narrative over the patriarchy' With pulsing music, minimal dialogue and plenty of shock value, the film creates a world where people can defy categorization and violence without reason is always lurking in the shadows. With Alexia, someone who can kill with “no emotion, no justification,” Ducournau said she wanted to break with the social construct that women are designated victims who can’t or won’t retaliate. Men can be inherently violent for no reason, but for women it is utterly unacceptable,” she said. “When women kill in movies, it is very often linked to a cause that is explained. “From the get-go, I absolutely did not want to justify my character’s violence, and I did not want to psychologize the fact that she’s a psychopath,” Ducournau told NBC News. She views human life with the same apathy as gender, which, in most horror films, would require her to be the villain. The lead character, Alexia (Agathe Rousselle), is a gender-bending, violent psychopath who elicits a fair amount of shock as well. Ducournau, in her usual style, toes the line between fantasy and reality with these warped images, which makes them all the more cringeworthy.īut it’s not just body horror - pregnant breasts engorged with motor oil, metal tearing through skin, cranial fluid frothing out of a punctured ear - that’s causing viewers to squirm in their seats. ![]() To that end, there’s an abundance of body horror that pulls on the physical pain of pregnancy and abortion, binding and hormone injections. In “Titane,” Ducournau’s critical lens is focused on exploitations of gender and queerness. ![]() ![]() French director and screenwriter Julia Ducournau. And she’s being rewarded at the box office, setting recent records for both French-language films and Palme d’Or winners. Only the second woman to win Cannes’ top honor, Ducournau taps into audiences’ taste for blood - something her debut film, “Raw,” had in abundance - while subverting the modes of arthouse and blockbuster horror. On Tuesday, the film was selected as France’s official Oscar submission, beating out Venice Golden Lion winner “Happening” and “The Stronghold” in a competitive race. Unabashedly violent and full of big ideas, this year’s Cannes Palme d’Or winner, “Titane,” directed by Julia Ducournau, has stunned its way into becoming one of the year’s most notable films. ![]()
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