Every couple of years, there comes a film that wows you to the point that it becomes all you talk about to others. Anyone close to me knows I tend to fall in love with a movie so much that it becomes the talking point of any cinematic conversation I may have. Over the past 12 years, films like The Social Network and La La Land have evoked such a passion that it was hard to imagine a film that could reach that same passion, let alone a movie I didn’t know existed until the start of this year.
Titane, Julia Ducournau’s follow-up to Raw, arrived at the New York Film Festival after winning the Palme d’Or at this year’s Cannes Film Festival. It gave me quite the cinematic out-of-body experience.
Titane is best enjoyed with knowing as little as possible. Therefore, my description of the film’s premise is set to be as vague as I can make it. The film follows Alexia. After a childhood accident leaves her with a titanium plate in her head, she grows up to become a dancer and develops quite a relationship with cars and hair accessories.
If Raw welcomed Ducournau to cinephiles, Titane cements her place as one of the most creative and innovative directors working today. Ducournau ups her game and has created a film more relentless, cringe-worthy (there were critics during my press screening that were covering their eyes during sequences in the movie), genius, and surprisingly full of heart. The emotional beats are the biggest surprise and strength of the film. Yes, the body horror is there, and it’s downright delightful, but the film’s heart beats beautifully throughout that it left me quite emotional as the credits rolled. Ducournau has arrived, and it would be a travesty if she’s not considered for a director nomination at the Oscars.
Ruben Impen’s lens is pristine and polished and captures the brutality and vibrant visuals stunningly. He evokes a dreamy feverish feel to the film that is aided by Jim Williams’s chilling score. In what may be one of the most overlooked scores of the year, Williams can capture Alexia’s highs and lows with such precision. Every piece of music is with purpose and warranted, and oh, by the way, the needle drops are killer!
While most of the supporting players don’t play a huge factor, Vincent Lindon is heartbreaking in his performance. It’s hard to ignore the emotion he evokes as he deals with being past his prime and losing his son. Lindon’s journey aids Titane in creating its sentimentality.
Ducournau’s vision is captured on-screen by the star-making performance by a first-time actor, Agathe Rousselle. She doesn’t just carry the film. She is the film. Her chameleon-like performance commands your attention. Her commitment to the emotional beats and the physicality in her portrayal is out of this world. It’s not just a star-making performance. It’s one of the singular best performances of the year. Yes, the Oscars don’t usually go for non-English speaking performances, but I can’t find anyone more deserving of an Oscar nomination this year than Rousselle.
Titane is undeniable. It’s a film that is unapologetic in its brutality and offers a look at self-discovery, which provides a duality that will make the film one that audiences will talk about for quite some time. Of course, it’s not for the faint of heart, but if you hop on this titanium rollercoaster, be prepared for the ride of your cinematic life.
Titane held its North American premiere at the Toronto International Film Festival & New York Film Festival and hits theatres on October 1st, 2021.
