She becomes “Adrien” and turns herself into the police. She shaves her head and binds her chest at a service station restroom. Alexia decides to hide by changing her gender identity. Afterwards, the police broadcast a drawing of her face on the news and on public monitors. Justine (Garance Marillier) and Alexia meet in a sexual encounter of mutual consent that goes wrong and Alexia attacks her and her housemates with her kanzashi. Astonishingly, she becomes impregnated by the car and is alarmed by the black engine fluid exuding from her body.Īlexia embarks on a journey of compulsive and instinctive survival after the attack. The car entraps her with seatbelts and sexually assaults her. Alexia opens it and is led by an unknown force to a garage where an exhibition car with a running engine is waiting for her. Later that night, she hears a loud pounding at her door. Leaning through the window of her car, his mouth exudes a white foam that splatters on her as he takes his last breaths. In response, she pummels him in the head with a kanzashi-a Japanese hair pin used by Samurai. One admirer follows her, asking for an autograph, then a kiss. The spectators desire the performers and wait outside after the show is over, but Alexia turns off her act when she is done with her performance. Years after the car crash, Alexia (Agathe Rousselle) has become a female erotic dancer, acting out sexual fantasies by performing on top of shiny, powerful cars with lots of horsepower. It is a blaring remnant and hair can’t cover it. When she leaves the hospital after rehabilitation, there are closeups of a scar that looks like brain tissue. She receives an implant made of biocompatible, fire-resistant titanium ( titane in French) which is sutured into her head wound. As she sits up in bed, her head is covered with a vise to help her neck support the weight. Seconds later the car hits a barricade which sends her, not him, to the emergency room. A narcissistic uncaring father (Bertrand Bonello) screams at his seven-year-old daughter Alexia (Adèle Guigue) in the back seat to be quiet. The 50/50 jury chose Julia Ducournau’s Titane for the Palme d’Or, the second woman to receive the award in Cannes’ history. These grids are widely read by the accredited press but do not always reflect who will win the awards. Nearly all of the critics featured in the grids are men. Each day of the festival, film trade magazines publish grids of the films in competition rated by critics. Is it a female body? Is it a monster? Or is it a cyborg? Ducournau’s feature stands out among others selected for this year’s feature film competition because of its cinematic gestalt of a cyborgian split in gender expression-a female body that has become impregnated by a car.įor the first time in Cannes’ history, four out of the seven jurors evaluating feature films were women. Julia Ducournau has created a powerful iconic film in Titane, the Palme d’Or winner of the 74th Cannes Film Festival, where the human body is taken for a ride.
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