The director speaks of “trying to build an umbilical cord between you and the character … for me, bodies are essential for that.” Alexia stabs, scratches and punches her way through life, doing as much harm to herself as others. But if you only read the more churlish headlines about “Titane,” you may have missed the tender heart beating beneath the blood, oil and chrome.ĭucournau says she was inspired by the ancient Greek creation myth of Uranus (heaven) and Gaea (Earth), whose union produced a pantheon of 12 gods, known as the Titans and Titanides, and a “new humanity that is quite monstrous.” (“Titane” is French for both titanium and the female form of Titan.) In the myths, the family dynamics are complex, rife with violence and rebellion, and play out in muscular, elemental terms not unlike Ducournau’s own filmmaking. To do so, she reached for the absolute, the unconditional the kind of love that you need to see being born, because how else could you possibly believe it exists? The means by which she arrives at the nub of her story has proved controversial to some. “ Titane,” she said, was an exploration of why she felt so immobilized by love. She can only keep the truth inside for so long. Despite attempts to conceal her body from Vincent, her baby bump continues growing at an alarming rate. She’s also a serial killer, and when a bout of bloody mayhem goes awry, Alexia is forced into hiding, posing as Adrien, the long-lost son of firefighter and steroid junkie Vincent (Vincent Lindon). One night she does the deed with a Cadillac, only to become pregnant. Objectified, sexualized and sporting a scar from the insertion of a metal plate into her skull, Alexia has a thing for cars themselves. “Titane” centers on Alexia (Agathe Rousselle), the survivor of a childhood car crash who has since become a dancer at auto shows. The thought of Ducournau at an impasse of any kind would be amusing if she wasn’t being so sincere. ![]() ![]() In her follow-up, “Titane,” protagonist Alexia bucks in the throes of ecstasy courtesy of an amorous muscle car (giving new meaning to the term “autoerotic” in the process). In her debut film “Raw,” burgeoning cannibal Justine tears at her sister’s severed finger like a chicken wing. It’s a surprising admission from a filmmaker whose every on-screen move is delivered with total conviction. For me, I felt a bit crippled by the topic.” “It’s something that a lot of people seem to handle so well in films, in series, in art in general. “It’s quite hard to talk about,” Ducournau said via video call.
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