The Current Debate: The Transgressiveness of Julia Ducournau’s “Titane”

The Current Debate: The Transgressiveness of Julia Ducournau’s “Titane”
Following up on her 2016 feature debut, Raw, which chronicled a veterinary-cum-vegetarian student’s pivot to cannibalism, Julia Ducournau pushes her fascination for the pliability of human flesh to even further extremes with Titane. The film, awarded the Palme d’Or in Cannes earlier this year—only the second time the top prize is given to a woman director—kicks off with a near-fatal car accident, after which Alexia is left with a titanium plate fixed to her skull and a seemingly insatiable appetite for the vehicular. Next we see her, she’s turned into a serial killer and a car show dancer. In one outrageous early sequence, she’s impregnated by a Cadillac. Following a killing spree that sends her on the lam, she disfigures herself to pass as a boy gone missing years prior, Adrien, and finds an unlikely refuge in Vincent (Vincent Lindon), a middle-aged firefighter who welcomes her back as his son,
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