Her sister is in her second year, I believe. Justine, who comes from a family of vegetarians, is sent off to a vet school, where she's sort of a legacy, considering that her mother, father (I think) and sister have all attended this university. In many ways, of course, the narrative is also about Justine's sexual awakening after leading a, relatively, sheltered live in her home by a, somewhat, controlling mother and a father that, really, doesn't do much. That they use cannibalism as a way to get to that doesn't negate what the story, ultimately, is. But, in a lot of ways, this is still a surprisingly effective feminist coming-of-age story.
Raw film julia ducournau movie#
Because, again, it's not necessarily a pleasant movie to watch when it decides it wants to portray some of the more.unsavory aspects of Justine's new hunger. This is the type of movie, since it focuses on a teen girl's burgeoning desire to consume all types of flesh, eventually, leading to her turn to cannibalism, that not everyone will enjoy. It's certainly violent and lurid, to be sure, but it's not exactly 'gross', at least to me. Regardless, let's move on to this movie, shall we? As far as grossness is concerned, I don't think it would even rate on my scale. Well, I mean, they have to worry about censorship if their film finds distribution on this side of the world. And, in France, where (to my knowledge) there's no tyrannical MPAA governing body handing down restrictive ratings and, even, sometimes ordering cuts be made from a film to get a more favorable and crowd-friendly rating, they can pretty much be as extreme as they possibly want without worrying about censorship. Because actual rape is a disgusting and horrible act.
They should make you uncomfortable, they should be reprehensible, vile, nasty, disgusting, etc, etc, etc. Movies about rape (like Irreversible) shouldn't be pleasant to watch. The more uncomfortable it makes you, the better it achieves its goals. The reason this is so is because horror films, often, don't have to worry about the line between good taste and bad taste because, again, they can be as upfront as they want. They can be more relevant about societal, racial, governmental issues if they're handled effectively. The thing is, though, that a lot of these films that invite controversy due to their incredibly violent and sexual nature, more often than not, explore themes that relate more to what's going on in the real world than, say, other genres. I'm sure there's plenty more, and there's a list on that I'm reading right now dedicated to unforgettable French films. High Tension, Martyrs, Irreversible, Inside (which I haven't seen, I'll openly admit, but I do very much want to) and that's just to name a few. Some of the more realistically grotesque horror movies, that I've seen at least, have come from France. Though, to be fair, this is a French-Belgian co-production. But I felt that, if anyone can make a gross horror film, it's the French. Though, I suppose, what's gross to one person might not be to me and I get that. Now, as far as I'm concerned, saying that a movie is gross can, sometimes, be a term that can be overused.
It was on my Netflix list for months now and I remember seeing it (after I added it to my list) seeing this mentioned in a list of gross movie (I believe). Watch the first trailer for the movie in the video below.So, for one reason or another, I put this movie off for quite a while. The film will world premiere at Cannes next month. Shrewdly using the art-horror format to upend the traditional teen Bildungsroman, ‘Raw’ makes it impossible to look away - as much as you might want to.” … Ducournau tears down the walls of a genre so often identified with male filmmakers. IndieWire awarded Ducournau’s feature directorial debut “Raw” a B+ review, calling it “David Cronenberg for teen feminists.” Critic Jude Dry wrote, “Female sexuality carries the same taboo as a ravenous flesh-eating teenager in this provocative feature debut. Unlike all of these directors, Ducournau is competing for the Palme d’Or this year with just her second feature directorial effort. Other filmmakers in competition at Cannes 2021 include Wes Anderson (“The French Dispatch”), Paul Verhoeven (“Benedetta”), Sean Baker (“Red Rocket”), Leos Carax (“Annette”), and Apichatpong Weerasethakul (“Memoria”). Cannes Sales So Far: Wim Wenders’ 3D Doc ‘Anselm’ Lands at Sideshow and Janus Filmsĭucournau is one of four women directors selected to compete for the Palme d’Or at Cannes 2021 alongside Ildikó Enyedi with “The Story of My Life” (Enyedi’s “Body and Soul” won Berlin’s Golden Bear), Mia Hansen-Løve with her long-awaited “Bergman Island,” and Catherine Corsini, who will premiere “La fracture” two decades after her “La Repetition” competed.
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