This impressive early sequence, shot, like the rest of the film, with a fluid sense of spatial depth, color and light by Belgian DP Ruben Impens (encoring after Raw), does suggest, through comical exaggeration, what women are up against in this world. That’s a first sign that things might be a little more complicated or less black-and-white than a male gaze/patriarchy situation. One of the dancers working there is the now grown-up Alexia (fresh face Agathe Rousselle), who is herself a motorhead as we’ve seen in the flashback to her youth. Both the cars and the gals exist to get the men present off, though they can only fantasize about and never actually touch the wares. It’s an aggressively heterosexual environment that’s been dialed up to eleven. Scantily clad female dancers gyrate and lick the hot wheels while male car nuts gather round and take pics on their smartphones (if they don’t get immediately hauled off for touching one of the dancers). But while Titane wants to shock and surprise - two things a lot of contemporary films seem to have forgotten how to do - it also wants to tell the strangely affecting story of two royally f***ed up human beings who, despite all the odds, and lack of shared DNA, share a father-son like bond.Īfter a quick flashback that explains how little Alexia got a titanium (the Titane of the title) plate placed in her head after an accident as a child, the film proper kicks off at an automobile fair that can be best described as a strip club with crazy cars instead of poles. In Titane, there are elements of body horror, female revenge films and pedal-to-the-metal car-obsessed movies (though don’t think the audience of the Fast & Furious franchise will be automatically into this film). Screenwriters: Jacques Akchoti, Simonetta Greggio, Jean-Christophe Bouzy Venue: Cannes Film Festival (Competition)
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |