Running from the law, she masquerades as the lost son of a firefighter, with whom she forms a tense, tender relationship. Titane’s heroine is a young woman named Alexia who has a metal plate in her head, makes a living doing raunchy dancing at car shows, and also kills people. “I feel that my film talks about humanity very much,” Ducournau insists. Titane, I suggest, is considerably less respectable than you’d imagine a Palme d’Or winner to be (notwithstanding Tarantino’s Pulp Fiction in 1994) – not your expected sober, searching look at humanity. Photograph: Christophe Simon/AFP/Getty Images
Women kicked serious ass this year.”ĭucournau with Titane stars Agathe Rousselle and Vincent Lindon after winning the Palme d’Or at Cannes, July 2021. It took 28 years and I believe it’s not going to take 28 years again.” She points to 2021’s award successes for women – Chloé Zhao at the Oscars with Nomadland, Venice winner Audrey Diwan ( Happening), Romania’s Alina Grigore in San Sebastián ( Blue Moon).
Her win, says Ducournau in transatlantically inflected English, “was incredibly powerful to me.
#JULIA DUCOURNAU LESBIAN SERIAL#
What you don’t expect is in-your-face sexuality, serial slaughter, a ferocious, electrically coloured techno-metal aesthetic – and radical DIY nasal surgery.īut that’s what you get in Ducournau’s Titane – only the second Palme d’Or winner by a female director, the first being Jane Campion’s shared win with The Piano in 1993. You expect humanism, seriousness, perhaps a dash of difficulty. The most revered and exalted award in cinema, a world away from the erratic glossiness of the Oscars, the Palme d’Or tends to honour films that both further the language of cinema and shed light on the loftier questions of earthly existence. “W hen I see a stereotype,” says French director Julia Ducournau, “I try to kill it.” She certainly did that in July by winning the top prize at the Cannes film festival.
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