“But in retrospect, I find it very much.”ĭucournau said she knew she wanted a nonprofessional to play Alexia. “At the moment it was hard to find the humor in it,” Ducournau said. He later said he “messed up,” and apologized to festival organizers. “She started laughing, only the way Sharon Stone can laugh, with no stress and no tension and super radiant, and she said, honey, it is history.”ĭucournau was caught off guard at the beginning of the ceremony when Spike Lee, president of the jury, was asked to name the first prizewinner but instead accidentally revealed “Titane” was the first-prize winner. “I said, I’m not sure yet, but it feels like history?” Ducournau said. Then the actress asked how she was feeling. It was the first time a woman had won the award since Jane Campion in 1993 for “The Piano.” Ducournau said she was in disbelief until she hugged Sharon Stone and wouldn’t let go. In July, “Titane” was the surprise winner of the Palme d’Or, the top prize at the Cannes Film Festival. Scott wrote: “For all its reckless style and velocity, ‘Titane’ doesn’t seem to know where it wants to go.” Others wondered: to what end? In his review for The Times, A.O.
Reviews of “Titane” have been mostly celebratory (Entertainment Weekly called it “outrageously good”) while still mindful of its grisly bravado ( “the work of a demented visionary.” IndieWire wrote). Brooding, shocking & cinematic,” he tweeted.
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Night Shyamalan took notice: Ducournau directed two episodes of the macabre AppleTV+ series “Servant,” for which he’s an executive producer.
In the view of Alexandra West, the author of “Films of the New French Extremity: Visceral Horror and National Identity,” Ducournau’s work is “extreme and absurd but also human” and “part of the driving force behind what’s to come for cinema.” “Love is the movie.”Īt 37, after just two feature films, Ducournau, a Paris native, has already become a genre film sensation.
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Rousselle, too, used the word to describe the movie in a separate interview: “You have this beautiful love story between my character, who has never been in love before, and a father who doesn’t think he can ever love again and they find out what loving means and what love means,” she said. “So I decided to do it as a challenge and ask: can you do that with love?” “The whole point with my film is to make you feel what the characters feel, but it’s hard to make you feel love, to physically feel it” cinematically, she said.
Sitting at a French-enough bistro the day before “Titane” had its first screening at the New York Film Festival, the word Ducournau used most often wasn’t “berserk” or any other scary-sounding adjective reviewers have used.
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