Titane (2021)

In a time where a series of unresolved crimes is on the rise, a go-go dancer with a metal plate fitted into her head runs away, only to be found by a tortured fire chief who accepts her as his son.

France’s official submission for the ‘Best International Feature Film’ category of the 94th Academy Awards in 2022 aims to shock with raw violence and perversion and not to please with aesthetics. The one filmmaker who could truly shock people by blending sci-fi, body horror, sexuality, and profoundly perplexed personalities is David Cronenberg, who never made it to the Oscars. Consequently, that kind of violence and perversion doesn’t seem new to me, and as much as I enjoyed the film, I can’t see how all these nominations and wins occurred. As for the Oscars, it’s been years that I don’t understand how the nominations and the awards are given, even though I’ve done thorough research on it. You see, theory and practice don’t always match, and I’ve given up on Hollywood’s moronic policies, moral and social indecisiveness, and corruption.

Anyway, back to Titane, Julia Docurnau’s provocative lens starts right off the bat with no warning whatsoever. And, no, I’m not referring to the dance or the homosexuality;  I couldn’t care less. It’s not even the sex with the car. It is Alexia’s inclination for murder. Docurnau’s lens focuses on Alexia’s effortlessness to take multiple human lives and showcases it as easy as the murders themselves. And as much as I don’t see where most of the nominations came or are coming from, the fact that Agathe Rouselle only got that one nomination is shocking! Roles like these make or break actors/actresses, but most definitely attract attention. Regardless, I truly believe she deserves a lot of ‘trophies’.

From then on, the narrative’s perversion takes a different form in that of a man who accepts her as his son and their sick relationship. I wish I could tell you more, but you’ll get no spoilers from me. See for yourselves and make up your minds. I will conclude by expressing my admiration for Docurnau’s natural ability to capture the unnatural. You wouldn’t have been surprised if you had watched her previous work, Raw (2016). Should you haven’t, you should. By the way, I couldn’t detect the ‘sci-fi’ genre, and judging by the characters, I would probably replace it with ‘fantasy’.

I admire her as a filmmaker, and that is not due to her close-ups, the DePalma split shots, or even her films that much. It’s because she’s a fantastic storyteller. She knows what kind of story she wants to tell, and she knows how to tell it without hesitation. Love or loathe it, Palme d’Or worthy or not, accept it for what it is.

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Solidarity for all the innocent lives who suffer the atrocities of war!

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