Gas up
And it starts with an accident – an unfortunate crash that will result in little Alexia growing up with a scar resembling a titanium plate implanted under her skin. Side effect? Only potential neurological symptoms. Years later, an adult girl (debuting Agathe Rousselle) wanders like a shadow in the sterile interiors of her family home during the day, overwhelmed by the presence of her father, a doctor, and in the evenings she probably shows her charms at the lubricant-dripping sex fair, sensually dancing on the hood of an equally alluring car. As is often the case, the bodily expression of a woman arouses the unhealthy interest of more or less desirable admirers.
This is where her trusted companion comes to the rescue – a skewer, equally effective in pinning twigs and piercing arteries. Alexia leaves a bloody trail behind her, but when she has to face the real consequences of her actions, she decides to make a very drastic metamorphosis. A man will stand in her way, constantly looking for his lost son. What’s worse, under a loose sweatshirt and a tight bandage, it will hide its growing belly, the mechatronic fruit of an intoxicating night spent with … a car.
Source: newyorker.com
Hey, makarena!
At the beginning, a warning that may seem obvious to those who have had contact with Julie Ducournau’s work to date – it will probably not be a screening suitable for particularly sensitive people. The author draws both from the best traditions of body horror and French extremism, the poetics of exaggerated cruelty, no other than Haneki or Tarantino. It is clear from the very first minutes that Ducournau is by no means a Sunday driver, and it is better to fasten your seat belts for the ride. There are boundary and body scenes that test the endurance of the viewer. It is a session that is deliberately stressful and uncomfortable, shocking and painful, but not devoid of lightness. This is provided by non-obvious, absurd, often black as grease humor, resulting mainly from the absurdity of the situation in which she is wading through desperation,
It would be easy to label Titane as a vain provocation, a shocking film for the arts itself. Meanwhile, under the extreme, uncompromising form, there is an intimate drama with a universal and conservative meaning. Believe it or not, this is… a love story; the story of two people, wounded and distorted by fate, deeply hiding primal instincts and basic emotional needs. Ducournau gradually strips the narrative of genre accretions and abandons academic schemas to ultimately leave the characters completely naked. Naked literally and figuratively – free of prejudices and social conditions, thirsty – humanly – unconditional love and acceptance.
Source: telerama.fr
Auto-eroticism
Titane is a strange movie. Corporeal, but devoid of unjustified sexualization of the human body. Extreme, but also conservative in a way. As in the case of Mięs , the French director’s full-length debut, the shocking form is only a gimmick, an overlay on a quite down-to-earth, deeply humanistic story. Worth attention!
We would like to thank the Cinema City chain for the opportunity to watch the movie Titane !
