‘Titane’ is a provocative thriller about a volatile young woman who changes her identity after a series of incidents requires her to go on the run, where she makes a connection she never expected.
There are many movies that focus on people’s bodies because it’s central to our existence, but also incredibly vulnerable to injury, disease and time. Moreover, women who become pregnant have the added experience of an alien presence inhabiting and altering their bodies over several months. Body horror became prevalent in cinema in the ‘80s and has continued to be a pervasive subgenre since then as filmmakers often use it to explore and express their views on other subjects. Innovations in special effects has also provided the option to choose the level of realism depicted. In Titane, a young woman changes focus as her body transforms after a life-altering experience.
When a child’s disobedience results in a severe car accident, it fosters an unhealthy adoration for vehicles. As an adult, Alexia (Agathe Rousselle) channels her attraction into her work as a car model, building a fan following that goes out of their way for her attention. However, after a bizarre experience, she decides she must start anew. Forced to hide her identity, she takes one from a decade-old missing person’s case and ingratiates herself to Vincent (Vincent Lindon), a father desperate for a happy ending. As she both attempts to appease this new family and keep her distance from them, she has no idea what’s growing inside her.
In a strange and unexpected way, this movie is actually a (platonic) love story between Alexia and Vincent. She has never felt as if she’s belonged anywhere, while Vincent goes out of his way to ensure she’s welcomed into his extended first-responder family. In the meantime, he yearned so long to have back the child he’d lost, he chooses to love the child returned to him unconditionally and never question the inconsistencies. His doting on this young adult is a bit strange, but his ability to be a father was stunted by the disappearance so his paternal instincts were never able to grow to match an older child’s needs. On the other hand, Alexia could use some direction and guardianship as she attempts to sort out what to do about her increasingly unstable situation.
Alexia’s body is unquestionably put through the wringer in this picture — whether it’s out of her control or self-inflicted. The first act presents a highly sexualized woman who enjoys making love to the hood of a lowrider as show attendees watch intently. Her unfettered enthusiasm certainly fuels her popularity, captivating audiences on- and off-screen. Later, she severely transforms her appearance to fit her plan, which results in a cringing alteration some viewers may find difficult to watch. But there’s something else happening that will inevitably have a much greater effect on her body, even if no one can explain exactly what it is or how it happened. Yet, that becomes less important than how it affects her demeanour and outlook on life. In the meantime, there’s also an unconventional portrayal of masculinity as the all-male team of first-responders dance together at night to unwind and their leader struggles with the decreasing testosterone of middle-age.
The contrast between the very suggestive and aggressive events in the first half of the film and the nurturing, family-oriented latter half is significant. The switch between them is nearly as violent as some of her behaviour. Rouselle’s performance is unforgiving as she embodies this very disturbed character whose daily ritual is an act of self-flagellation and an attempt to disappear. Meanwhile, Lindon’s portrayal of an emotionally confident man dealing with deep-seated insecurities is her polar opposite and perfect complement. Watching their relationship grow as he refuses to give up and she’s determined to stay unattached is quite beautiful, even with the backdrop of deception, occasional humour and overall strangeness.
Writer/director Julia Ducournau’s provocative picture won the 2021 Toronto International Film Festival’s People’s Choice Midnight Madness Award — and rightly so.
Director: Julia Ducournau
Starring: Agathe Rousselle, Vincent Lindon and Garance Marillier
