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The French julia ducournau, who gained the Palme d’Or of the Cannes Film Festival on Saturday for the movie “Titane”, is a singular and daring filmmaker, fascinated by the processes of physique transformation and whose transgressive cinema is stuffed with feminism.

Before “Titane”, probably the most violent work in competitors this 12 months, the director, 37, had already shaken the pageant in 2016, together with her masterpiece, “Raw”, a few veterinary scholar who turned a cannibal. “One of my goals was to bring genre cinema or ‘UFO’ films to festivals in general, to stop marginalizing part of French production,” Julia stated days in the past.

Raw was banned for beneath 16s and brought about discomfort through the show on the Croisette as a consequence of bloody scenes akin to that of {a partially} devoured physique. In Titane, there are not any such scenes, however moments of nice violence, akin to when the protagonist mutilates within the face or has intercourse with a automobile.

Nothing on this younger filmmaker, of serene look and mental trajectory, suggests such a universe, on the verge of “blood”. But this daughter of movie docs was fascinated since childhood by these features of transformation of the human physique. “Ever since I was a little girl, I’ve heard my parents talk about medicine without taboos. It was their routine. I was snooping around his books,” he stated on the time of Raw’s launch. For her, “death and decomposition are normal.”

From Edgar Allan Poe to Cronenberg

Influenced by the movies of David Cronenberg, Brian de Palma, Pier Paolo Pasolini and South Korean Na Hong-jin, this fan of the style movies confesses that the horror movie “The Chainsaw Massacre”, which she watched hidden at age 6, marked it, along with studying “Extraordinary Stories” by Edgar Allan Poe.

Born in Paris, Julia Ducournau has a literary background. Graduated in trendy english and trendy letters, she started in cinema in 2004, finding out screenplay within the French capital. In his early works, he has handled themes of bodily mutation. His brief “Junior” (2011), chosen on the Cannes Film Festival Critics’ Week, exhibits the metamorphosis of a young person.

“During my studies, I made a short story about a girl who scratched until she had a hole in her forehead. It was the first time I used special effects”, a universe she consecrates on Titane, with a cautious staging. “She’s a great filmmaker, you don’t have to cut any plans,” stated Gilles Jacob, former normal delegate of the Cannes Film Festival, after his first movie.

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