Not imposing one mood but having the mood shift with my characters. I do that because naturally, for me, that is a good way to play with the audience's emotions and to keep in touch with my characters' points of view all the time. I like to subvert the codes of different typologies of film, obviously, body horror, but also comedy, drama, and thriller. Can you talk about this narrative strategy? "Titane" features numerous tonal shifts that keep viewers off guard, which makes your film thrilling and enthralling. But also, because Alexia has a chignon constantly - that's where she puts her pick. I wanted to have a modern version of Madeleine's chignon on the side of Alexia's head. "Vertigo" was an important reference for me here, especially through Vincent's fantasy of being able to sculpt his own son back through her and the way he models Adrien - shaving his head, the clothes, the nose, all that. The scar is shaped like a spiral, a snail, which is a direct homage to Madeleine's chignon in " Vertigo," which is also shaped like a snail. Obviously, because of the plate underneath, but the shape of the scar had to have something to do with identity, as there is a question of that in the film. The scar in Alexia's head is something she would keep throughout whole film. Can you talk about creating the visceral visuals that are both difficult, but beautiful, such as the scar on Alexia's head? There is this idea of the organic and the mechanic. She spoke with Salon about the vivid images and damaged bodies in "Titane." What happens over the course of the story may defy logic, but that is what makes the film so involving - viewers become invested in these characters, who make some very risky decisions, to see what they will do next.ĭucournau delivers on the tremendous promise she showed in her feature debut, "Raw," which was equally unsettling. It is hard to discuss the film without spoiling things, but it involves Alexia (Agatha Rousselle in a stunning feature debut) who has a titanium plate in her head (hence the title) escaping a tricky situation by posing as Adrien, the adult missing son of Vincent (Vincent Lindon), a firefighter. ![]() ![]() Viewers will pick at it like a scab to see what's underneath. ![]() It is more that Ducournau, who won the Palme d'Or at Cannes, can mix hypnotic images and body horror while also generating tremendous emotion. It is not because this intense, uncompromising drama starts out as one kind of film and then morphs into another. Julia Ducournau's astonishing "Titane" is a dangerous film - and that is a good thing.
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