Julia Ducournau, Palme d’Or in Cannes with the black tale with Agathe Rousselle and Vincent Lindon, out in Italy. “It’s a personal film, I don’t want to convince everyone”
“I haven’t had much time to realize what happened in Cannes yet.” That is the Palme d’Or spoiled at the beginning of the ceremony by the president of the jury Spike Lee, struck by his Titanium, “A film with a Cadillac that gets a woman pregnant, just a mixture of genius and madness”, greeted by her with emotion at the cry: “Thank you for letting the monsters in.” Since last July Julia Ducournau has brought to the world, between festival and promotion, a work destined to divide critics and spectators. «It is a very personal work, not a manifesto, it represents my vision of life and freedom, in terms of gender, love, sexuality. I understand it can surprise you, I don’t pretend to please everyone ». The 37-year-old director came to Rome for the Italian release of the film (with IWonder, now only at the Sala Troisi, freshly reopened, from 1 October throughout Italy) about generational change. “I think my victory and interest in the film have to do with the fact that my generation, all over the world, has never been ashamed to embrace the code of horror, in a broad sense, as a language, way of thinking. We grew up with films like Alien, Terminator, mixing plans comes naturally ». Also mix influences. Cronenberg of course – who, he remembers, did not manage to win the Palme d’Or with Crash in 1996 – but also Fellini and Pasolini. “I owe them a lot, seeing their films has opened up spaces in my head that weren’t there before. I was struck by the absolute freedom of their work. And, in the case of Pasolini, one cannot ignore the extreme sacrifice of his parable ».
She is already working on two new projects, one in France and one in the USA where M. Night Shyamalan opened the doors for her, who had her direct two episodes of his Servant series and co-produced Titanium. It is not known whether they will be new chapters of his very personal poetics of monstrosity, after the cannibal student of Raw and the titanic serial killer capable of melting the head of the firefighters passionate about bodybuilding. Body horror define it, she specifies: “I use the codes and grammar of body horror, but I don’t think it connotes my cinema. What is important to me is to tell the transformation, not just physical, of the characters. Not only by Alexia (Agathe Rousselle) but also by Vincent (Vincent Lindon). Who joined the film in a moving way, I did not expect him to be so in tune with us. It is more he than she who is blowing up gender stereotypes ». At the end of it all, he says, Titane is simply ‘un love movie. It is difficult to talk about it, we no longer know what it is. For me it is an evolution, continuous and elusive, something mythological. Words are not enough, I tried to say it with pictures. Everyone judges him as he wants ». Golden year for female directors, Oscar, Palme d’Or, Golden Lion. “It was enough to leave the doors open, we took our space.” In a few days, France will decide which title to nominate for the best international film of the Academy Awards. A Cannes / Venice derby is foreseeable, Titanium against 12 weeks by Audrey Diwan. “Whatever happens, a great dilemma, isn’t it?”
His film opens, from 21 September, in Rome the new life of the Troisi Room, reopened in Trastevere under the management of the Piccolo America Association. «Admiration is the first word that comes spontaneously to me: admiration, because I am very impressed by the strength of this team and by this story that moves me very much. Thanks very much to this group of determined youngsters, for their courage, for this test of open minds ». Lindon echoes it, it is said: «deeply admired by the titanic struggle, to use an adjective that links the commitment of these young people with the title of the film. I rarely happen to be, but today I am really moved, by this act of extreme courage and great sacrifice, but also by this exquisitely political act of opening up spaces for culture to young people and attracting them beyond the world of the Internet ». And to those who ask her if she heard about Moretti’s ironic post, in Cannes with Three floors, to be released on September 23, who posted a retouched photo of him on Instagram with the comment «Aging suddenly. It happens. Especially if your film participates in a festival. And it doesn’t win. And instead another film wins, in which the protagonist gets pregnant with a Cadillac. You age suddenly. Sure, ”the director replies. ‘Have you seen my film? Without seeing how a judgment can be made? Please Nanni, watch the film ». From the Nuovo Sacher to the Troisi Room, after all, it is a few steps.
September 20, 2021 (change September 20, 2021 | 20:39)
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