“It felt incredibly, incredibly comforting-I wasn’t alone in it,” she says of winning the Palme. If anything, listening to her reflect on the genesis and intent of Titane-the dreams behind it, the making of it, the legacy it’s already a part of-reveals an artist alive and confident in her expression, however ostensibly challenging to grasp. She struggles to think about what comes next-she’d like to make a film in the U.S., rest assured, but as to what that might look like or how her style might translate to the American milieu, she’s just beginning to consider. The French writer-director had been musing about love in her film Titane, a through line buried beneath much hysteria since. Things were moving through me at that moment, and through my film.” Julia Ducournau lights a cigarette, as if to punctuate her point. “It was very, very intense.” She thought a lot about Campion-how it felt to be the first winner on that stage decades ago, and whether she thought about who would come next: “Being the second one feels like I’m part of a movement that is going forward…. “I had a feeling, when I was onstage, that it was bigger than me, and it was bigger than my film,” Ducournau says, reflecting on the moment. Some may even say it’s monstrous.” She concluded by calling for cinema (and the world) to be more inclusive and “fluid.”
#JULIA DUCOURNAU GAY MOVIE#
Upon accepting the top Cannes award-for real, this time-she said in her speech, “Tonight I am on this stage, and I know my movie is not perfect, but I don’t think any film is perfect in the eyes of the person who made it. Coming off her acclaimed Raw-a very different kind of film with overlapping interest in flesh, queerness, and desire-Ducournau’s cinematic instincts are finding a wider audience and, off the Palme win, more attention. No one else, it’s safe to say, is making movies this way. Ducournau acknowledges this, explaining that shooting in chronological order left room for her mind to take over: “It can be the most unbelievable thing, but as long as you live in the story through my character and through her experience, then anything can happen. Some visuals range toward the grotesque others may seem simply perplexing without a very close look. Caramel Films Hablamos de Julia Ducournau, desde sus inicios en el cine hasta su titánica Titane, que se llevó la Palma de Oro en el Festival de Cannes.
Titane is certainly the kind of movie where the average viewer will ask what just happened, over and over, and why. Ducournau depicts the budding affection between them with lingering shots of the two gazing into one another’s eyes, capturing an elemental spark. In scenes ranging from tender to bizarre, the two deeply broken souls feel each other out, a kind of makeshift family over which death and loss hover.
After Alexia realizes her predicament, she runs away from home, shaves her head, and poses as a young man who’d gone missing since he was a little boy-and whose grief-stricken, drug-addicted father (played by Vincent Lindon) takes her in, convinced his son has been found no matter how obvious he hasn’t. Communicating this-specifically, “the birth of love”-was Ducournau’s main goal. Yes-especially since Titane is ultimately a movie about love, strange as that may sound.
#JULIA DUCOURNAU GAY SERIAL#
A particular visual evolved from the filmmaker’s recurring, actual nightmare in which she gives birth to car-engine pieces she felt compelled by the contradictions of that vivid notion, of giving birth to things that “are not alive.” She fell hard for her troubled central character, who (among other things) emerges as a serial killer: “Even though they commit things that are morally unacceptable, to write them, you have to understand them, right?” There are way fewer movies about incest, but generally, the perpetrators in those are treated like human beings.
In movies like Se7en, the murderer, Kevin Spacey, does these horrible things, but he’s still a human being.
She calls this “connecting the dots” between various images she considers, dreams, or writes out. There are three taboos in humanity: murder, incest and cannibalism. Much of the film, perhaps it’s obvious, came from Ducournau’s subconscious. Julia Ducournau and Agathe Rousselle pictured with the prestigious Palme d’Or prize at Cannes Film Festival 2021. A Girl Walks Home Alone At Night (2014) dir. Kevin Williamson: ‘The Scream movies are coded in gay survival’.Good Manners/As Boas Maneiras (2017) dir.Women-Directed Horror (and horror-adjacent) Recs: In this episode, we turn our queer lens on Hereditary - Transmasculine allegory or transphobic trash? Listen to find out where we land, and join us next week for Part 2, when we tackle his follow-up folk horror classic Midsommar!Īrticle discussed: Trans Horror Stories and Society's Fear of the Transmasculine Body - Sasha Geffen (Them.)
#JULIA DUCOURNAU GAY CRACKED#
It's a two-part Halloween crossover event! Carver Casey of the Spooky & Gay with Carver & Jay podcast joins me to talk personal histories of horror and whether the films of A24 auteur darling Ari Aster are all they're cracked up to be.
0 kommentar(er)
