The idea was to create a new humanity that is strong because it’s monstrous - and not the other way around. I wanted to create a new world that was the equivalent of the birth of the Titans after Uranus and Gaia mated. I usually have the end in my head and then work from that.
#Julia ducournau servant movie
That comes from my will to build my movie around the birth of a new world.
But what about the idea for her to get knocked up by a car? Actually, she can be pretty violent actually, her sexuality is pretty fucked up. Afterwards, it’s going to be all about constructing it, layer by layer by layer. It feels like a bit stereotype, the whole thing, and I play with that stereotype. But as much as she gets out of the male gaze of the shots when we get to her, I use the whole setup as a trap, as a lure. Then we get to her and she gets out of the male gaze because she reclaims their desire, and she owns the car with the way she dances.
I made it seem as though the cars and the girls are essentially the same at the start. That’s why we start with a sequence shot in a car show. So in this respect, Alexia’s character comes from my will to show that femininity is so much more flexible and blurry than what people think it is. I make movies because I’m me, not because I’m a woman.
When people say I’m a woman director - I mean, that’s always a bit annoying, because I’m a person. I’m saying this for everybody: For me, as a woman, I don’t want my gender to define me at all. However, because that’s not yet something that’s socially understood, it becomes a topic. I think that gender is not really relevant for someone’s identity. For “Raw,” I was always talking in interviews about how I don’t like to put things in boxes. I see the world as it should be - fluid, and more fluid every day, in so many ways. It’s pretty natural for me to think like that. It’s one of the main themes of the film, but it’s not a theme that I had a plan for. Weirdly enough, gender fluidity is a topic and it is not a topic for me. More specifically, how did you map out your approach to gender fluidity? It creeps into the premise, since Alexia’s transformation isn’t so clear from the first act. I’ll take one picture that I put in another movie, like a fireman, and use it in this one. You have some small Easter eggs in my films, from “Junior” to “Raw” to “Titane,” some details in the sets that are the same and some costumes that are the same. It’s a new phenomenon every time, but I have tried to make it a continuous gesture. If you look at it from the outside, when you finish one, you move on to the other one. I can tell you that I do try to create affiliation between my films. How intentional has this progression been for you? Your short film “Junior” deals with a tomboy who becomes more traditionally feminine “Raw” is about a girl who becomes a woman now, “Titane” deals with gender in a more expansive non-binary way. “Titane” exists on a continuum with your other work. Maïwenn’s ‘Jeanne Du Barry’ with Johnny Depp Lands North American Release from VerticalĪ few days before her historic win, Ducournau sat down with IndieWire at the Cannes offices of Unifrance to discuss the themes of the movie, the extensive preparation that went into it, and how she’s evaluating opportunities as her career momentum continues to build. The ultimate movie-as-mic-drop experience, “Titane” left viewers speechless, but also gave them much to talk about, as it used its shocking, unpredictable ingredients to launch a complex exploration of gender fluidity unlike any seen before.
#Julia ducournau servant serial
Oh, she’s also a serial killer, and goes into hiding after her latest killing spree by posing as the long-lost son of a workaholic fireman (Vincent Lindon) with a steroid addiction. Brace yourself: Newcomer Agathe Rouselle plays Alexia, an erotic dancer with a sexual attraction to cars, one of which gets her pregnant. “Titane” follows Ducournau’s 2016 cannibal coming-of-age drama “Raw” with another provocative look at sexuality through the lens of genre. That outcome is all the more exciting in light of the movie in question. By the end of the festival, the arrival of the second feature from 37-year-old French director Julia Ducournau would find her becoming the second female director in history to win the Palme d’Or, after Jane Campion took the prize for “The Piano” way back in 1993. The lineup for this year’s Cannes Film Festival was filled with unpredictability, but at least one certain outcome: “ Titane” would get people talking.
0 kommentar(er)
