Titane is the second feature film of French director Julia Ducournau (Raw (2017)) and the Palme d’Orwinner of the 2021 Cannes Film Festival. The film is not for the faint of heart. Alexia (Agathe Rousselle) is a girl who suffered a brain injury as a child and now works at striptease car shows. Her encounter with grieving father Vincent (Vincent Lindon), who works as a fire-fighter, unveils the full extent of both his and her mental disturbances. People say that there is no art in shock value and Ducournau is set to prove them wrong. In her horrifying picture, she demonstrates that films with violence, nudity, sex and drug abuse do not need to be “trashy” and can be as stylish as any high-end production. There is nothing “cheap” about intense Titane which shines with inventiveness and brims with its own special intellectual, emotional and physical rawness, finding its own appreciative viewers.
This year’s Cannes Film Festival has got to be very different from the others, not least because of the pandemic and its consequence for the film industry. This year, the festival is held from 6 to 17 July 2021, and the Jury of the Main Competition are: Spike Lee, Mylène Farmer, Maggie Gyllenhaal, Jessica Hausner, Mélanie Laurent, Kleber Mendonça Filho, Tahar Rahim and Song Kang-ho. It is hard to talk intelligently about individual films (since so few details are yet known about them), let alone try to guess winners, but I have decided to single out just five films out of twenty-four competing entries in the Official Selection and talk about them:
I. The French Dispatch by Wes Anderson
From the director of Moonrise Kingdom (2012) and The Grand Budapest Hotel (2014) comes The French Dispatch, “a love letter to journalists set in an outpost of an American newspaper in a fictional twentieth century French city that brings to life a collection of stories published in “The French Dispatch Magazine” (IMDb). As you read this post further you will notice that this is not the only film in the Official Selection that blurs reality and fiction, and the cast here is to die for: Tilda Swinton, Frances McDormand, Adrien Brody, Bill Murray, Saoirse Ronan, Benicio del Toro, Léa Seydoux, Timothée Chalamet, Willem Dafoe, Elisabeth Moss and Edward Norton, to name just a few. It promises to be a fun and aesthetically-pleasing cinematic experience that also apparently pays tribute to such French films as Mon Oncle (1958) and Le Cercle rouge (1970) (the trailer).
Today (8th of March) is the International Women’s Day, and I think it is perfect time to celebrate female directors and their achievements. Therefore, I am taking this opportunity to present 10 films by 9 great female directors which I previously reviewed on this website. There is a lot of talent when it comes to women directors, and I am glad that this year the following women are receiving their recognition: Regina King (One Night in Miami), Chloé Zhao (Nomadland) and Kelly Reichardt (First Cow). Some of my favourite female directors also include Jane Campion, Claire Denis and Sofia Coppola, and I previously made posts on Maya Deren and Lynne Ramsay (You Were Never Really Here). This year, I am also planning to draw attention to the following female directors on my blog: Penny Marshall, Chinonye Chukwu (Clemency) and Lucile Hadžihalilović (Evolution).
Julia Ducournau’s debut feature film “Raw” provoked extreme reactions from the critics and audiences alike. Despite its grim story and graphic imagery, the film managed to gain an all-round critical acclaim. “Raw” is a French-language film about an adolescent girl Justine (Garance Marillier) who enters her first year at a veterinary school in France. There, Justine joins her older sister Alexia (Ella Rumpf), and soon realises that the life of first-year students at the school is not an easy ride, and her recently-acquired (and initially forced) passion for raw meat is the cause for major concern. Realistic in its presentation, the film is known for its graphic scenes of cannibalism, but, ironically, its most shocking premise is not the immoral craving of another being’s flesh, but the film’s ghastly and disturbing setting.