![]() I wanted to present sexuality in this way, as a big ‘fuck you’ to everyone.Last year’s sensations The Father, Florian Zeller’s portrait of an elderly man struggling with dementia and his selfless daughter, and Quo Vadis, Aida?, Jasmila Žbanić’s take on the horror of Srebrenica through the eyes of a UN translator who tries to save her family, as well as this year’s glistening Palme d’Or winner Titane, Julia Ducournau’s attempt to explode every family convention we are used to, received no fewer than four nominations apiece. ![]() For me, girls have needs just as boys do, and they can fulfil their needs without complications and shame. I think this is very outdated and no longer relevant. In most movies, losing your virginity is unfortunately always associated with something very sacred, very important. It was important to approach this from a girl’s point of view. I think there was something to be done about how you approach sexuality when you are still a virgin, and a child. How did you approach the erotic aspects of the film? There is a piece of me in every character. It’s not writing about a man or woman, it’s writing about everything. If I want to write about a dragon, I need to feel for the dragon. A screenwriter and director should be able to relate to any character – our job is to have imagination. Which doesn’t mean I’ll never write about a male character. The movie is quite personal, so it was more easy for me to relate to a female character. It’s an instant reflex because I’m a woman. When you wrote the film, was the central character always a girl? It was important to me because I know that with such a dense and disturbing topic, visually, we would need to breathe a bit. And so I really needed this difference kind of space to be able to do wide shots of nature and the sky. The idea of being stuck in classrooms was, for me, unbearable. ![]() It makes it less claustrophobic when you know you’re going to make a movie that takes place in a school. But I have a lot of American references in my head. I said to the location people I wanted something a bit American, a big school like you’d find in a city. It would be a big surprise to me if there was a remake, but why not? It’s true, in France we don’t have big campuses like the one I used in the movie. ![]() Is there anything I can do? Am I the product of my parents, or am I my own self? It’s about questioning to what extent you have a chance to act on things. It would be interesting to see if there’s an evil pattern in my family that I might be doomed to reproduce. You see patterns reproduced, even if it’s against your will. Sometimes it hurts people when I say that family is a form of determinism, but I think it is. When you want to build yourself up as an adult, you have to let go of certain things. The good thing is that none of the parents in the movie are anything like my parents, so they didn’t take it personally at all. There’s an interesting idea at the centre of the film that says we’re all the product of our parents. I don’t want people to expect scares because they’ll be disappointed. I use different types of film grammar, so I don’t think it fits into one particular box. My movie is more of a crossover between comedy-drama and body horror. If I had wanted to show only the gory moments of the girls eating bodies, I could have done that. To make them uneasy, to disturb them? Yes. Just because I love horror movies, it doesn’t mean I think that my movie is one. One interviewer referred to Raw as a horror film and you responded by saying you weren’t keen on such generic ways of describing movies. It’s really funny that the emphasis was on two people who didn’t feel well when 1198 people were feeling good! But I understand that. LWLies: If you enter the film’s title into Google, the first result that comes up is a story about someone having a heart attack at a screening.ĭurcournau: A heart attack? No, it was two people not feeling very well out of a room of 1200 people. Here this outspoken first-time director delves under her film’s thick skin. In 2016, it was Julia Ducournau’s teen body horror, Raw. The director of Raw discusses why her film is a bold expression of female sexuality.Īmid the polite, foreign-language fare you usually catch at the Cannes Film Festival, there’s usually a rogue treat thrown in for genre fans. Julia Ducournau: ‘The way losing your virginity is portrayed in most movies is very outdated’
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