#Julia ducournau body series
Raw had a strong central allegory about a young woman discovering her “appetites,” whereas Titanium feels more like a series of riffs on a set of themes related to hybridity: hybridity of gender identity, film genre, family, even what it means to be human.
#Julia ducournau body full
But after a very gory first act, the narrative shifts into a quite tender (but still darkly hilarious and perverse) story of found families, with Alexia somehow ending up the ward of a fire station in which Lindon is the undisputed Daddy of a hothouse full of glistening chrome and hard bodies. Ducournau frontloads much of Titane’s body-horror stuff, throwing us right into the film’s motifs of vulnerable flesh and hard metal when Alexia gets her hair caught in another girl’s nipple piercing. She’s one of the girls at the hilariously pornographic car show, wearing booty shorts and fishnets, humping ecstatically on the hood of an El Dorado with flames painted all over it, as well as a hydraulic system that eventually gets quite the workout. It promised an autoerotic treatise on body modification and tons of gnarly setpieces -and exceeded expectations in a deluge of blood, fire and motor oil.įollowing a childhood car accident, Alexia (heretofore unknown Agathe Rouselle) has a titanium plate in her head, which goes well with her half-blonde mullet and the “Love is a dog from hell” tattoo between her breasts. Titane: A metal highly resistant to heat and corrosion, with high tensile strength alloys, often used in medical prostheses due to its pronounced biocompatibility.” “Titane” means “titanium.” The preview didn’t help much: it was just a sequence of extreme but nearly incoherent images of car-show honeys twerking on hot rods, the steroidal French star Vincent Lindon flexing in front of a mirror, metal protheses, et cetera. The logline for Ducournau’s followup, now in the main competition, was cryptic: “Following a series of unexplained crimes, a father is reunited with the son who disappeared ten years ago.
Writer-director Julia Ducournau’s first feature, Raw, was a major breakthrough in Cannes’s smaller Critics’ Week section in 2016: a film about a virginal vegan veterinary student who comes of age and into a taste for human flesh, it earned gasps when its heroine eats a severed finger, and then got grosser from there. Titane did a good job of keeping its secrets and building anticipation for its premiere Tuesday night. Watch this space over the next fortnight for more.
This is the latest volume of the French Dispatches, our on-the-ground coverage of the 74th Cannes Film Festival, which is back in 2021 after a yearlong hiatus due to COVID-19.
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