AT THE CANNES Film Festival in 2019—the last edition before the pandemic struck—the winner of the Palme d’Or came as no surprise. Bong Joon-ho’s “Parasite” seemed destined to win the top prize from the moment the credits rolled and the audience offered a five-minute-long standing ovation; the reviews were rapturous. This year there was no outright frontrunner.
The other reason Ms Ducournau’s victory was so welcome has nothing to do with her gender. The Palme d’Or doesn’t usually go to experimental or controversial work: it tends to go to thoughtful, politically engaged dramas made by directors such as Ken Loach or Michael Haneke . They are so well established that the win has little impact on their careers. In contrast, “Titane” is only Ms Ducournau’s second feature film.
“Titane” only gets more jaw-dropping from there. Accompanied by dance music that sounds like an industrial drill, and low choral chanting that would be perfect for a Satanic mass, the film transforms from an eerie cyberpunk fable to a gruesome black comedy about a sprightly serial killer, to a twisted but tender fairy-tale in which a hulking fire chief treats Alexia as his long-lost son.
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