I definitely think of them as different forms of the same character.ĭEADLINE: Your movies manage to give violent characters an empathetic edge. It makes sense to me to have this evolution between characters because they bear the similar names somehow mutating from one film to the next.
#JULIA DUCOURNAU SERVANT INSTALL#
Is there a pattern where you’re exploring topics across age groups?ĭucournau: It’s true that I like to install a form of affiliation between my films, to make them somehow a continuous gesture. And then, Titane explores the life of someone in their early 30s. It’s not graphic in the way of gore, but there is a poetic, melancholic feel to and definitely the first one I remember where I felt this identification was a film character.ĭEADLINE: The film Junior starts with an adolescent high school student, and then the second film Raw is about a young adult in college. The way she’s treated like she can’t understand things makes her even angrier. She’s well aware of all the adult innuendos, and what’s being hidden from her. What I love about that film is that it does not portray childhood as bliss or the best time of your life, or something innocent.
I saw it for the first time when I was eight years old (the same age as the character.) In order to cope with the grief, she starts having violent thoughts about the adults around her, including her father’s new mistress and her aunts. It tells the story of eight year old Ana, who has lots of trouble grieving her mother’s death. I sat down with Ducournau and Rouselle to talk about Titane, violent women, and how the film garners empathy from its audience.ĭEADLINE: Julia, what was the first film that you remember that empowered you in a way where a female character was bold, daring, and violent?ĭucournau: It’s in Cria Cuervos, by Spanish filmmaker Carlos Saura. She put her anger, heart, and soul into this film, and I don’t blame her for focusing on her work rather than discussing anything awards-related. Either way, Doucournau tells me she would rather talk about her film. Rarely does the ceremony embrace a concept as bizarre as this. Since Cannes, people have been buzzing about Titane’s Oscar chances. After going on a murder spree, one of her victims get away and reports Alexia to the police, and the main character has to go on the run.
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The film purposely makes the source of her madness ambiguous, but the result is the woman is a psychopathic serial killer.
As a child with a strange affinity for cars, a car accident caused a titanium plate to be placed inside her skull. The film follows Alexia, an absolute menace to society. Ducournau isn’t talking about which gender commits a more violent crime, but why aren’t women ever considered culprits in heinous scenarios? This separation of the genders and the perception of social violence and who can inflict makes Ducournau angry, which is why Titane exists. I had to think about what she said, and I understood. Unfortunately grounded in a reality that men and women do not have the same apprehension of the public space.” “I think my reasoning for continuing to write and explore women in this way is a very grounded reaction. When asked about the intersection of women and their violent nature, her smile deflates and gets serious. What makes this film so deserving of the win is its intriguing premise, where Ducournau explores the uncircumstantial nature of violent women. Her second film, Titane, went straight into the main competition and claimed Cannes’ highest honor: the Palme d’Or. An impressive accomplishment for a newcomer. Raw, a film about college and cannibalism, was her feature film debut at international critics week, winning the FIPRESCI Prize. For me, it was like being at Cannes all over again.”Ĭannes 2016, is where it all began for Docournau. “New York is my favorite city in the world!” said Rouselle.ĭoucounau adds, “I felt such love from last night in New York. Brie Larson, Paul Dano & Julia Ducournau Join Cannes Film Festival 2023 Jury
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