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Thread: Titane (Julia Ducournau)

  1. #1

    Titane (Julia Ducournau)


  2. #2
    Wild movie. Hard to watch in real time, lots to process afterward. Ducournau has only gotten more extreme since Raw -- if she somehow ups the ante again with her third feature it may prove too much for me. Despite everything, the film has a beautiful message.

  3. #3
    Guttenbergian Pop Trash's Avatar
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    Likely the first instant masterpiece from Europe I've seen since Holy Motors (which also featured sexy anthropomorphic cars), despite (or because of?) being heavily influenced by David Cronenberg big time. Really ignited my brain, my heart, my genitals, my eyeballs, and my ears in the best ways.
    Last edited by Pop Trash; 10-04-2021 at 04:28 AM.
    Ratings on a 1-10 scale for your pleasure:

    So I Married an Axe Murderer - 6
    That Thing You Do! - 8
    Cocktail - 2
    Child's Play 2 - 7
    Vanilla Sky - 7
    Minority Report - 8
    My Cousin Vinny - 7
    The Limey - 8
    kid 90 - 7
    Another Round - 7




  4. #4
    Administrator Ezee E's Avatar
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    Certainly lots to ponder on that probably takes a second viewing to properly get a full hold of.

    There's strangely been a lot of movies lately about parenthood and think this is certainly one of the better approaches.

    I said it on the discord, and I'll say it here, but strange for the Daily Beast to call this the "sexist" movie of the year. It's like they wanted the first fifteen minutes and tuned out afterward.

    No Time to Die - ** 1/2
    Black Widow - *
    Nobody - ***


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  5. #5
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    "How many of you are there? I’m exhausted." I find Ducournau's works without a whiff of pretention despite the out-there provocations and abundance of metaphorical readings, because she takes her story's humanity seriously, including humor like that. Raw is more cohesive but I like this better, maybe a preference of finding her style working better the more unpredictable her story framework is. Which is also a bit of a problem, eventually, since as much as each half (pre- and post-Vincent Landon) works intuitively on their own, I don't find the first's rampaging sensibility works intuitively with the second's familial tenderness at all, especially when both are bridged by Rousselle's character. Kind of undercuts the latter a bit for me, despite still finding the end moving.

    But Ducournau consistently stages so many electrifying sequences, Rousselle projects the right kind of unknowability for this lead, and Lindon makes the biggest impression with a complex portrayal of grief/denial/acceptance mingling together so disarmingly; he links them into a heartfelt arc amidst the film's madness, through his character's own body complication that parallels and closes the emotional gap with Rousselle's. 7/10
    Midnight Run (1988) - 9
    The Smiling Lieutenant (1931) - 8.5
    The Adventures of Robinhood (1938) - 8
    Sisters (1973) - 6.5
    Shin Godzilla (2016) - 7.5

  6. #6
    Evil mind, evil sword. Ivan Drago's Avatar
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    From Letterboxd:

    Every bit of hyperbole that's been said about the Palme D'Or winner at the 2021 Cannes Film Festival is true: Titane is a neon-soaked rollercoaster of a film that's as unsettling as it is heart-rending. What starts as a gonzo serial killer film about a car show stripper struggling to make emotional connections following a trauma quickly morphs into a genuinely touching tale about familial bonds, gender roles and social acceptance of different sexual identities. Ducournau directs her latest genre-blended narrative with an approach that aims to make the viewing experience feel as visceral as possible, from its use of stylized visuals and an amazing soundtrack to a terrifyingly grotesque use of body horror, a dark sense of humor and powerful performances from its lead actors. The subject matter and gruesome effects may not be for everyone, but for open-minded audiences, Titane is bizarre and brutal, but also ambitious and affecting, and of the year's best films.
    Last Five Films I've Seen (Out of 5)

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  7. #7
    I can't recall the last time I've disliked a movie quite so intensely. I was tempted to walk out during the nose-breaking scene and now regret I didn't follow that impulse. I might've been able to rationalize the film's unpleasantness if any of the characters were remotely believable but it feels like their traits were assigned to them at random. She's a stripper who fucks a car. And she's a serial killer who uses a knitting needle as a murder weapon. But otherwise shows no interest in knitting whatsoever. And then she stops being a serial killer when it's no longer obligatory for the plot. And she has daddy issues, I guess. Atom Egoyan's Next of Kin handled the whole fake long-lost son angle a lot better, which is to say plausibly and entertainingly.
    Just because...
    Devi (Satyajit Ray, 1960) mild
    The French Dispatch of the Liberty, Kansas Evening Sun (Wes Anderson, 2021) warm
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    The last book I read was...
    The Tenant of Wildfell Hall by Anne Brontė


    The (New) World

  8. #8
    I fear I'm going to fall somewhere in between the most recent two reviews here. I would love to be horrified or fall in love with this film, but usually this type of arty, violent weirdness just leaves me....meh.
    Last 10 Movies Seen
    (90+ = canonical, 80-89 = brilliant, 70-79 = strongly recommended, 60-69 = good, 50-59 = mixed, 40-49 = below average with some good points, 30-39 = poor, 20-29 = bad, 10-19 = terrible, 0-9 = soul-crushingly inept in every way)

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