Does the prestigious Cannes award finally reward a genre film? Or the work of a filmmaker presenting a book of what she can do in cinema? Does he salute a film with script problems, or a truly innovative film? The opinions of film critics on the Sunday evening cultural program
The presentation by Jérôme Garcin:
“The Palme d’Or was awarded to Julia Ducournau for her second film, Titanium, after Serious, which had marked the spirits. At 37, she is not only the youngest of the official selection this year, but also the second director in the history of the Cannes Film Festival to receive the Palme d’Or after Jane Campion for The piano lesson in 1993.
It is with Agathe Rousselle and Vincent Lindon. It’s a trashy movie Crash of Cronenberg, which opens with a car accident, followed by a pose in the brain of the young victim of a titanium plate. Vincent Lindon, plays a character ravaged by the death of his son, playing firefighters on steroids. The film was released this week with a display including little was said, which is still forbidden to under 16s. So palme d’or or palm gore? ”
Nicolas Schaller: “A modern gold palm that moves forward”
“It’s not that gory. Titanium is violent, disturbing, tiring, but not so bloody. This film is really a surprise. We discovered the director with Serious. Titanium is very radical, which proves that Ducournau was not afraid of the second film. It is rare that the second films go so far while digging the same groove as the previous one. There she even removes the humor from Serious.
In Titanium, it only preserves the ashes of humor. There is in this film, a dimension close to the opera which crushes any irony whereas there are quite funny lines.
But the film is really amazing. You have to hold out for the first half hour. I wondered until the end what I was watching. I didn’t really understand where I was. Sometimes I found that she appealed to the viewer’s belief in such unreasonable and excessive ways that I thought I was going to drop out.
And no, every time she catches up with me because she has a sense of cinema.
Julia Ducournau has obsessions which are not mine, but which become so after a while so “she goes”. I found Titanium fascinating but I cannot say that it was a film that moved me.
This film has divided critics a lot, and I find it amazing that it managed to pull together in the jury. It is a strong gesture on his part to crown Titanium.
It’s a modern choice and a way of looking ahead.
I really have the impression of being in front of a film which, we will say it a little broadly, creates a new language, its use of symbols, it splits the film into two very distinct parts by completely changing the register… C ‘ is unheard of. “
Ava cahen: “It’s a bit If you love me take care!”
“This desire to go further and stronger, Julia Ducournau means from the start. The film opens on a stage where we hear the sound of an engine running very quickly. We are under the car, in its bowels. It’s almost the credits ofAlien. We already have this mythology in the back of our heads. The director will excite this symbol. Then by a levitation effect, we will climb to the level of the passenger seat. There, we will be in contact with a child who will bang very violently in the driver’s seat. The driver is dad. And not just any. He is a father of cinema since it is Bertrand Bonello who drives this car.
From there, of course we think of Crash, but we also see the rage of a child unloved by her father, who turns his back on her.
This unloved will meet men and women who will want to love her. But “if you love me, take care” is the message of the film.
This character of Agathe Rousselle is formidable. “
Xavier Leherpeur: “Delighted that this type of film goes so high, but I’m dissatisfied”
I am somewhat delighted that this film has won the Palme d’Or. I don’t like him very much, but I agree with Nicolas.
I’m happy because it’s a film directed by a woman, because it’s a genre film, because it’s a transgressive film.
I don’t like it because I still lack some driving elements that existed in Serious where there was a point. There was a script progression, there was something about the articulation that interested me that I can’t find in Titanium.
There, I see a brilliantly staged film, but I see a succession of vignettes that are very much in the quote: Cronenberg, Alien, Claire Denis fairly regularly, Carpenter …
She gives me the impression of presenting a book to a producer by telling them: “I can make a road movie”, “I want to make a film with Cronenberg” … I’m sorry, it’s not enough for me to get carried away. I am amazed by everything I see: by the intelligence of the staging, of the interpretation. A while ago, it was kind of done without me.
We are in gratuitous and somewhat vain virtuosity.
“She’s very happy with what she’s doing. I’m delighted that a film like this has risen so high. But at the same time, as a cinephile and as a viewer, I’m unsatisfied.”
Michel Ciment: “Julia Ducournau has mastered the cinema, the setting, the light, the intensity …
I agree with Xavier and it turns out that I also didn’t like it totally. I loved it Serious, but Titanium has more storyline issues. Serious was more of a learning film. I find that in Julia Ducournau there is a mastery of the cinema, the setting, the light, the intensity …
I am happy that this jury has taken a very radical position. It is also the expression of time: the jury was younger.
We are witnessing a historic reversal materialized by the Palme d’Or. Fifty years ago, the great masters were called Fellini, Bergman, Godard, etc. Horror films or gore films were rarely shown. The press hardly spoke of it.
Today, this genre is present and has become official.
The Festival crowns a gore filmmaker and not someone from auteur cinema. It is very symptomatic and it represents very well even our time. And at the same time, I salute this film.
- Ava Cahen (FrenchMania)
- Xavier Leherpeur (7th Obsession)
- Nicolas Schaller (The Obs)
- Michel Ciment (Positive)
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Cannes Film Festival 2021: Le Masque’s opinion on “Titane” by Julia Ducournau, Palme d’Or