Julia ducournau boyfriend1/22/2024 ![]() Biographical instruments often make crude tools for criticism, yet Ducournau’s family trades shed light on her thematic passions. ![]() Effusive critical responses to her first full-length film, Grave ( Raw, 2016) were eclipsed by breathless tales of viewers collapsing at an early screening news reports, untroubled by the distinction between correlation and causation, explained the syncopal episodes as a result of watching ‘the scariest, most disgusting film ever made.’ When confronted with this characterisation of her work, Ducournau replied, incredulously: ‘Seriously? Have you ever seen Cannibal Holocaust?’īorn in Paris in 1983, to a dermatologist father and gynaecologist mother, Ducournau graduated from both the prestigious Lycée Henri IV and the Sorbonne, before studying filmmaking at La Fémis. No backstory is necessary: to be a young girl is monstrous inspiration enough.ĭucournau’s triumph at Cannes last year surprised Anglophone soothsayers of French film awards her use of the cinematic grammar of body horror seemed to demarcate her as a director in the derided tradition of cinéma de genre, and, with only one other feature under her belt, more established auteurs such as Ryu Hamaguchi and Asghar Farhadi were touted as likely victors. For Julia Ducournau, director of the Palme D’Or-winning Titane (2021), the fallacy of the question would be obvious. In an introduction to Frankenstein, written for a new edition of the work in 1831, Mary Shelley recounted a question she had been asked frequently in the thirteen years since the novel’s publication: how had she, ‘then a young girl, come to think and to dilate upon so very hideous an idea?’ A prying concern permeates the query, as if the monstrosity of the work’s content must indicate perverse conditions of production, some titillating mistreatment inflicted on the nineteen-year-old Shelley that could justify the creation of a new category of monster. ![]()
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