11/19/2023 0 Comments Titane julia ducournau cannes![]() Because for me, love is truth, love is the moment where you can see the person in front of you outside of any representation, you can see the person for their core, and so it was, again, kind of an ascending journey that starts with lies and climbs to the truth of the film. Yeah, she’s pretending to be his son (Adrian), and he’s pretending to recognise her as his son, and the idea was to see how, from these lies, you could have truth emerge in the needs that they have for each other: to be looked at and to be acknowledged, and not to be alone anymore. So identifying as a parent/child is as important as being a parent/child. Meanwhile, the relationship between her and Vincent is not a real parent-child relationship, and they both know that, but both want to make it real. That for me says it all, it means that she has no connection with humanity whatsoever at the beginning of the film. It felt, to me, very logical that she, who is a little bit dead inside - portrayed by the plate in her head - will set out to prove that she would rather have intimacy with a material that is cold and dead, than with flesh. I see Alexia as being deeply repulsed by humanity, who is very reactive when someone overcomes the threshold of her vital boundaries. I wanted it to be like a two-character scene: with them looking at each other, with the headlights being the eyes of the car. I really tried to establish a kind of seduction between her and the car, I did not want to fetishise the scene. Therefore a relationship with an inanimate object can be as profound, as real as any other relationship. I found it remarkable how solemnly you approach the act that defines the film: Alexia has sex with a Cadillac, and is impregnated. I’m interested to see my character’s desire to kind of subvert, and reverse, this masculine transfer that the car can represent. For me, cars are more used for what they represent socially, and how they are often portrayed as an extension of masculinity. ![]() It’s funny, because I have actually learned the term ‘mechanophilia’ only through interviews. In a way, smartphones have become like limbs for so many of us. I was wondering if the mechanophilia in the film is kind of a metaphor for our growing connection with technology. It’s true what you’re saying about the softness and the hard aspect of metal, how they coexist and intertwine, that guides the whole creation of the film. It doesn’t obey the traditional structure of three acts, its more like it sheds its layers throughout. The film itself, in construction, is like an arrow having an ascending movement. I’m just trying to explore all the moments where all these extremes intertwine. For me, the same way there is this whole echo between darkness and light in the film, between an animalistic aspect and the very sacred aspect. How important was it for you to make this film feel both soft and metallic? 'Titane' is a triumph in the body horror genre that surprises with extreme sensitivity. I spoke to the 38-year-old French filmmaker before her Cannes-conquering masterpiece came to our screens. Their lives crash more noisily and messily than cars could. The film stars Agathe Rousselle as Alexia, a mute exotic dancer with a titanium plate in her head, and Vincent Lindon as a fireman searching for his missing son. Titane is unlike any film I have seen, but also, ultimately, a lovesong you can dance to.Īlso read: Cannes 2021: Julia Ducournau's 'Titane' wins Palme d’Or ![]() Yet the truest subversion may be the aching tenderness within this body horror film. Her film Titane is radical and revolutionary: a film where a woman has sex with a car and gets pregnant. In 2021, the 75th year of the Cannes Film Festival, Julia Ducournau became the first female director to win a solo Palme d’Or, the top prize.
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