Titane

I didn't read anything about this movie, I heard it could make it onto the Oscar's long list so gave it a go.

Immediately you realise this small girl has "issues" not sure what, but all becomes clear after a few minutes.

She has a car accident and needs a titanium implant in her skull, this accident clearly leaves a cathartic impression on her and cars which caused her injury.

We then see her as an adult , a car fanatic and erotic dancer famous around Europe' car and custom shows.

Extreme scenes , those with needle phobias will need to look away a few times.

On the run, finds a firefighter who is looking for his son who went missing 10 years ago, both had needs and make a weirdly suitable match.

If it were a crime drama it would be clear A-B storyline, but the writers added a twist which you really have to get your head around. I won't say what it would spoil it for you, just to say it's weird.

Extremely compelling viewing, if you were to put the movies "Eraserhead, Christine and Backdraft into a blender this is the movie you would end up with.

I liked it.

Most years, I start with a desire to see a wider variety of films at the cinema than previously. Usually it doesn't last, but it was in this spirit that I went to see Palme D'or winner "Titane" as it was released in UK cinemas. Even having had a couple of days to ruminate on it, I'm not sure exactly how I feel about it.

Having suffered a terrible car accident as a child, Alexia (Agathe Rousselle) now dances seductively at motor shows to an appreciative audience. Following a violent encounter with a fan, she returns to the building and has sex with one of the cars. She flees the town, changing her appearance and binding her body, claiming to be the long-lost son of firefighter Vincent (Vincent Lindon). Vincent tries to reach his "son" with various acts of kindness, but the physical act of binding her body is taking a toll on Alexia, that only worsens as she discovers she's pregnant.

I suppose the key questions are thus. Did I enjoy "Titane"? No. I don't think I was necessarily supposed to though. It's a hard film. The juxtaposition of the fantasy elements of the first 30 minutes and the, occasionally quite touching, scenes between Vincent and Alexia is stark. There's certainly a version of this film that could entirely ignore the idea that literally she has sex with a car, that would work just as well, but this isn't that. Which leads me to believe that the car aspect must mean something, but if it does, I didn't get it. This leads me to my second question, did I then get an insight into something? Again, not really. Darren Aranofsky's "mother!" was a similarly tough watch, but at least I came to get that it was allegorical. I don't feel like "Titane" can make a similar claim, indeed I've read an interview with Julia Ducournau that explicitly says that it's a fairy story and your supposed to accept the events happened as laid out.

This is not to say that I felt the film was entirely without merit. The performances are really good, particularly from Agathe Rousselle in what is her first feature film. The body horror elements are well done and at the very least you can't argue with Ducournau's singular vision for the film. There are little touches in the background of the story, that suggest a bigger narrative that you're not explicitly seeing, and I do like that faith in the audience to pick up on that. The connection between Vincent and Alexia is interesting. I suspect he knows from the start that it's not his son that he's bringing home, but he's so destroyed by grief he is happily blind to it.

I am, as you might be able to tell from the review, conflicted about my feelings about the film, but still thinking about it days later.

Well, lots of female nudity.

Unlike Grave, a movie i like a lot with it story that make sense in it own logic, this one didnt connect wt me.

I am surprise at the high score on imdb for this one.

Again, i would recommend you watch Grave first. Maybe Titane will be appreciate better by female audience as the director/writer also is.

Like a revewer said, the ridiculous dancing scene without the belly prostetic is done without care.

I have see many movies in horror genre, some done much better story and execution wise. This is should not be a Palm D'or level winner as a product, maybe as a booster for it director and recognition to Vincent Lindon .

I don't really know what I just watched. It was incredibly weird, but nevertheless watchable. In fact, I might even go as far as to say it was mesmerizing.

I'm sure there were some really deep themes, of which I could glean only a handful. But maybe that's a lacking in myself. These themes - as far as I could make out - include love and loss, rage, psychosis, and identity. Even a slight hint of incest.

But there are still a couple of pretty pertinent things that remain a mystery. Big mysteries!

I would recommend this film to those who want to lose themselves in one woman's psychedelic / psychotic journey, or for those who enjoy analyzing and could possibly apply meaning to scenes and images that I don't think were included for fun, but which I can't work out.

Nevertheless, I would recommend people check it out - if only for the originality and creativity. It won't be for everyone. It starts off rather sedately and then gets deeper and deeper into the bizarre. Personally, I love cinema that pushes boundaries and dares to be different - even if it fails, which this one definitely doesn't.

So be brave. Try something new. Expect to be challenged, and perhaps even a little offended, and definitely expect to see something different.

And I can't sign off without congratulating the performance of the two leads - Agathe Rousselle and Vincent Lindon. Both did brilliant jobs, especially Agathe since this was her feature film debut.

Not since David Cronenberg's CRASH has Cannes seen as 'auto'-erotic a film as Julie Doucurnau's TITANE. And, despite some controversy with each, both movies got Jury Awards (TITANE the Palme D'or).

After a childhood flashback leaves Alexia (played as an adult by Agathe Rousselle) with a metal plate in her head. The 30ish woman is now a dancer at a strip club where the ladies gyrate with automobiles (and, if there's something that eclipses a man's fancy more than girls and cars - it's girls AND cars). A bizarre late night S&M encounter leaves Alexia pregnant -- and with an increasing penchant for violence and aggression. Doucurnau (RAW) doesn't flinch from showing the sex and brutality in all it's grindhouse glory. The movie provocatively begs the question of whether it's any less exploitative if it's directed by a woman.

After this savage (overly so) opening*, Doucurnau's script (with "consultants") abruptly changes gear when Alexia comes into contact with Vincent (Vincent Lindon), a fire chief of a special fire fighting unit. He takes Alexia under his protection and becomes a father figure to her. Vincent has severe issues of his own, and their relationship becomes a symbiotic one, however peculiar it may be. Rousselle and Lindon play off each other well here and their bond becomes as believable as this strange tale can become. More to the point, it becomes quite moving in its own perverse manner.

Doucurnau's movie isn't just interested in the standard horror tropes, as it confronts head on gender identity, sadomasochistic relationships and the fetishizing of women's bodies. Genre fans will see parallels to such earlier films such as Cronenberg's THE BROOD, DEAD RINGERS and RABID (along with the aforementioned CRASH). BLADE RUNNER 2049, UNDER THE SKIN, THE DEMON SEED and last year's PROMISING YOUNG WOMAN are also evoked (the latter, of course, a coincidence of timing). The story-telling isn't always cleanly nor coherently told, but, it accumulates a certain power.

TITANE is certainly not your typical Cannes Awards winner, nor your standard horror film, but Doucurnau has created her own disturbing vision of the intersection of sexual politics and what it means to be human in this age of rapidly accelerting advances in bio-medical technology.

*there were walkouts in the theater.