May i ask something (no hate)

why do most people call Louise a stalker? she was just a fan? She knew Alex and his work, she liked him, she approached him, Alex reciprocated and they are together. I don't know all the details since I'm new to tumblr but I don’t think she is a stalker

ah welcome anon, you’re uninformed. She intentionally put herself in his path so that they would meet. She also literally had a Pinterest board of him and infamously posted #alexturnermarryme before they even met. Check the tags for more info.

Presenting The 2nd Critics Choice Super Awards Winners

Presenting The 2nd Critics Choice Super Awards Winners

The Press Release: The Critics Choice Association (CCA) announced today the winners of the 2nd annual Critics Choice Super Awards, honoring the most popular, fan-obsessed genres across both movies and television, including Superhero, Science Fiction/Fantasy, Horror, and Action. “Spider-Man: No Way Home” led the film winners this year, garnering three awards overall. The film was awarded Best…

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Titane (Julie Ducornau, 2021)

Me he dejado descolocar por la segunda obra de Julie Ducornau, pues el argumento que a duras penas (leído casi sin querer) conocía tarda en hacerse patente, con lo que la sorpresa de lo que iba viendo era grata, a pesar de que me hiciese pasar tremenda grima en algunos momentos, pero a eso es a lo que venía. Es tan desagradablemente atractiva que lo tiene todo para gustarme: los planos secuencia musicados, algo muy visto últimamente pero que hay que saber hacer bien, y aunque el del comienzo en el evento de los coches o el de los baile de los bomberos al son de Future Islands están muy bien, me quedo con el del asesinato múltiple en casa de Justine (autoreferencia a Crudo, con su actriz protagonista interpretando también a una Justine); la trama de suspense, que remite a películas ya vistas como The Imposter, Madre o La próxima piel; la violencia, ya sea en los crímenes, o simplemente en las limitaciones impuestas a un cuerpo que pide expansión; la malsana relación que se forma entre Alexia/Adrian y Vincent (espectacular Vincent Lindon); y muchas, muchas secuencias para el recuerdo: además de las ya citadas está el baile erótico que deja a los bomberos con el culo torcido, las escenas de sexo solitario en los coches (la sombra de Cronenberg es alargada), aquellas en las que el fuego hace acto de aparición, y por supuesto ese final que nos reconcilia con ambos protagonistas y con la vida. Larga vida al metal.

Titane (id, 2021)

BLOGTOBER 10/13/2021: TITANE

This year I feel like I've started way more posts than usual with a disclaimer about my not feeling totally qualified to discuss the movie I assigned myself...and in general, I think this is a good sign that I am challenging myself (even if I should maybe learn to be less apologetic). Today I find myself back in that boat, not because of any established analysis of the film, but because Julia Ducournaus' sophomore solo effort (WTF girl?!) TITANE practically demands to be interpreted in terms of trans identity, and a cis het lady like myself may not be the ideal person to hear from about this. I'm going to do my best! But, I welcome any comments or suggestions pointing to other, more learned discussions of this great movie, which I am about to describe in detail. If you can, see it first, without any knowledge of its many shocking delights.

*I am using the pronoun "she" for Alexia/Adrien for various reasons. The character never insists on an alternative, and I don't wish to complicate things with my own projections. But, I do want to say before I begin that I am well aware of how awkward this becomes, and I'm curious about how other writers will choose to manage this.

I can't shake the subconscious assumption that the title is actually TITAN, matching the movie's power and grandiosity, but TITANE refers to the titanium plate in the protagonist's noggin, necessitated by a childhood car crash. As an adult, Alexia (Agathe Rouselle in her feature film debut—another WTF?!) is an exotic dancer who we find grinding athletically on a Cadillac at a motor show. Said Cadillac is, to put it delicately, Alexia's boyfriend. Alexia is also a serial killer, which we discover as soon as other humans start coming onto her, whose work has reached the dimensions of a public crisis. To escape capture, she changes her appearance into that of a cadaverous androgyne, and adopts the identity of a long-missing boy, Adrien. Adrien's father, firefighter Vincent (the exceptional Vincent Lindon), is so lonely that he willfully ignores signs that Alexia is not Adrien, and together the two tortured souls find redemption in their perverse relationship. Selective ignorance can't last long, though, as Alexia has become pregnant by the Cadillac.

Bodily identity is out front and center in TITANE, in such a bold and complex manner that I'm sure people will be analyzing it for years to come. Alexia's childhood head injury may be to blame for her inhumanity, but the plate in her skull makes her more than human, capable of reproduction with mechanical objects. As Adrien, her pregnancy complicates her ability to present as male, making the binding process even more painful and difficult than it can be in the best of circumstances; but, at least it helps protect her clothing against the motor oil she can't stop secreting. Vincent knows in his gut that Alexia cannot really be Adrien—he even has a hallucination suggesting the realization that his son is long gone—but he encourages her to play along, offering her love and protection, training her to save lives as a firefighter rather than take them as a killer, and teaching her to shave her face to cultivate a more masculine presentation. Vincent himself is struggling with his body's rebellion against his self-concept, age slowly getting the better of him despite a steady regimen of steroids, so maybe it's not so strange for him to try to make a strapping young man out of Alexia.

Vincent Lindon's tremendous performance, and Julia Ducournau's compassionate examination of his body, manage to stand up to Agathe Rousselle's flashy, chameleonic charisma.

Early in TITANE, Alexia's hair gets tangled in a nipple piercing on another dancer, Justine, causing a cringe-inducing injury reminiscent of the bikini waxing scene in RAW. (Notably, Justine is RAW's Garance Marilliere) When I saw this, I thought, ah yes, of course, this will be all about the masochistic nature of female-ness, it's true, we are in a constant state of ripping out hair, scraping ourselves with blades, burning our skin with acid, et al ad nauseum, all so we can compete for the ostensible privilege of being crudely penetrated by some primate, only to wait with bated breath for the moment that our entrails agonizingly wring themselves out like an old rag... But actually, my thinking was too primitive for what TITANE was getting at. The film isn't out to confirm any heteronormative notions of essentialism, nor does it stick to a linear motion of trans-ness (from the false anatomical sex to the felt, singularly correct one); Alexia is capable of becoming Adrien, but that does not invalidate her feminine aspect, as we realize when she confronts Vincent with her biological situation. Something of a cyborg, Alexia is not so much transgender as she is transhuman, her "true self" rooted in the titanium plate rather than between her legs or in her thoughts. Her sexuality is totally separate from the male-female spectrum, aimed only at union with industrial objects: the Cadillac, a firetruck, even Justine's nipple rings, the only part of Justine that Alexia pays any attention to in their fatal tryst. And most importantly, Alexia's sexual behavior is not a perversion or a fetish, nor a trauma-induced neurosis, but a legitimate biological directive, apparently natural and fully functional. It brings about a new form of life.

I'm sure some readers will find my engagement with TITANE more than a little clumsy, but I find this general interpretation to be almost mandated by the movie. 24 hours was just not enough time for me to come up with a commentary that was more "in my lane", and I don't want to hold my breath waiting for alternative inspiration. There is certainly something to be said about human union with the artificial (an increasingly real situation in the digital age)—or, the growth of the artificial into something like a natural ecosystem—but my thoughts on that are more of a stretch at present, so I didn't "go there". I'm sure we'll all have many years' worth of opinions on TITANE to sort through in the future, as it is just that provocative. As for Julia Ducournau, I'm dying to know what she'll do next, having reached this level in the space of two theatrically-released features. I don't know how you follow this act. I wouldn't blame her if she just retired.

best actress noms: tessa thompson for passing, agathe rouselle for titane, ruth negga for passing (SHES NOT SUPPORTING), toko miura for drive my car, and ill keep olivia colman even tho i havent seen it yet

Agathe Rouselle by @julien_mignot on Instagram

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Lmao tiktok found out that Alex “slept with Louise’s friend [Agathe] for a month” 🤭🤭🤭

vaguely inaccurate or not, it’s still rather awkward

Ganadores de los premios de la Crítica de Austin

The Power of the Dog es la película más premiada, mientras que Pig gana como Guion Original

‘The Power of the Dog’ consigue cinco premios, incluyendo Mejor Película, en la edición 2021 de los premios de la Crítica de Austin. Agathe Rouselle gana a Mejor Actriz por ‘Titane’. ‘Pig’ gana en Guion Original. El año pasado, ‘Minari’ ganó como Mejor Película.   Lista de ganadores de los premios de la Crítica de Austin 2021   MEJOR PELÍCULA Dune The Green Knight Licorice Pizza Pig The Power of…

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Crash! Boom! Bang! - Film Review: Titane ★★★★1/2

For me, good art is pretty, but great art is confrontational, forcing the viewer to reflect upon the human condition and reveal truths, however inspiring or ugly. The 2021 Cannes Palme d’Or winner, Titane, writer/director Julia Ducournau’s sophomore effort, definitely veers towards the latter type of confrontation. With enough brutal violence to fill all of the Halloween sequels combined, this viscerally charged film will likely polarize audiences, but its vision and power cannot be denied.

A highly visual, almost wordless film, Titane begins with Alexia, a young, androgynous girl, pestering her father by kicking the back of his driver’s seat. Annoyed, he turns to scold her, swerving off the road and injuring his daughter. Saved by a titanium implant in her head, we next see Alexia as a young adult (phenomenally played by Agathe Rouselle), in a scene highly reminiscent of the opening single shot from Brian De Palma’s Femme Fatale, strutting toward her job as a dancer at an Auto Show. With punk rock aggressiveness, she forces her way through the crowd and ends up gyrating on the hood of  car. A combination of antisocial, disturbed, or just not having the time of day for anyone else’s problems, Alexia, in a series of horrifically bloody scenes, establishes herself as a relentless serial killer, gets impregnated by a car (not a typo!), and uses a chopstick for all the wrong reasons. She seduces men and women alike while never cracking a smile or exhibiting an ounce of joy. You may not like this feminist anti-hero, but you won’t ever forget her.

I wouldn’t blame you for walking out at this point, as it’s not for the delicate stomach, but if you stay, you’ll be richly rewarded with this decidedly queer body horror thriller. Disguising herself as a young man to evade police capture, Alexia eventually gets taken in by a lonely fire captain named Vincent (Vincent London). This hulking, muscular, man believes Alexia to be his long-missing son, causing Alexia to use binding cloth to hide her breasts and expanding belly.  Vincent has troubles of his own as he’s often seen injecting himself with an unnamed substance which could possible be steroids or heroin. The bond the pair forms proves surprisingly touching, especially in a scene involving CPR and the song, “Macarena”. Where all this leads may not surprise you, but it manages to land in that no man’s land between beauty and dread.

Besides De Palma, it’s easy to spot Ducournau’s other influences such as Gasper Noé’s Irreversible, David Cronenberg’s Crash, and Jean-Jacques Beineix's Betty Blue. I also couldn’t help but see the link between the film and Jonathan Glazer’s hypnotic Under The Skin, both involving otherworldly women on killing sprees. Her muscular, in your face style has that 80s punk aesthetic, forcing you to slam against the back of your seat with its non-stop drive and cover your eyes half the time. Aided immensely by cinematographer Ruben Impens, Ducournau has a style of her own, simultaneously over-the-top and bleak and keyed in tight to the emotional cores of her lead actors. Inspirations be damned, Ducournau has a singularly driving yet tender cinematic voice.

Titane is a film about trauma, anger, human bonds, gender identity, and the ability for even the most troubled among us to tap into their humanity. It’s a work of art in its assaultive, unforgettable, confrontational way.

Je viens de voir Titane Après une #série de #crimes inexpliqués, un père retrouve son fils disparu depuis 10 ans. #titane : Métal hautement résistant à la chaleur et à la corrosion, donnant des alliages très durs. #film #fantastic #thriller de Julia Ducournau avec Agathe Rouselle & Vincent Lindon #palmedor #festival #cannes #2021 #surrealist âme sensible s’abstenir #lefresnoy #cinema #movie #love https://www.instagram.com/p/CUP7VWvt-l_/?utm_medium=tumblr

Who is the girl that bragged about sleeping with alex a few years ago?

Agathe Rouselle, it was a long time ago tho

Hey guys, who wants to ask Agatha for tea in her ig stories?

^

Nominaciones de la Asociación de Críticos de Georgia

Lista de candidaduras de la Asociación de Críticos de Georgia. 'Titane' consigue nominación para Agathe Rouselle

‘The Power of the Dog’ domina la edición 2021 de los premios de la Asociación de Críticos de Georgia con nueve nominaciones. ‘The Green Knight’ logra nominaciones a Mejor Película y Mejor Director. Agathe Rouselle consigue nominación a Mejor Actriz por ‘Titane’. ‘The Worst Person in the World’ se cuela en Mejor Película. Los ganadores serán anunciados el 14 de enero.   Lista de nominaciones de…

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