after what Julia Ducournau caused a big stir with its debut Gross, her second job as a director generated the same reactions, almost with the same force, but also with more recognition, as during the last edition of Cannes Film Festival the reactions and opinions left no room for doubt that it was a film that made a big impact and that finally managed to win the most important prize in the contest, the Palme d’Or, being the second time that a director was awarded the most important recognition of the festival and the first time that a woman won without being ex aequo. And with all the talk that comes up around the headband Before its debut, it cannot be denied that there was a desire to verify that all those words were true.
Vincent is a father who is reunited with Adrien, his son who disappeared after ten years. The reunion comes after a series of media reports and violent murders that keep the region on alert.
If there is anything that is truly admirable about the film, among other of its many virtues, is the ability to surprise. Not only at the narrative level, where it is impossible to clearly see the paths through which the story unfolds, but also how it moves between the various genres. like him film starts by paying a little tribute to Cronenberg Accident With that bizarre union of sexual desire, bodily exploration, cars, and violence that doesn’t take long to escalate, he has time to go through science fiction or fantasy in a very devious way, and suddenly the machine wobbles and turns in another direction. focused on a bizarre family drama with suspenseful overtones that the viewer hadn’t even considered to give rise to new plots and subplots that do nothing but dislodge, but which in their strange way, these sketches are taking a new form and don’t abandon the initial topics.
Because for many ideas that occur throughout the film, including a quirky parent-child relationship, the focus is on some of the main female fears. The fear of going home alone, the fear of running into a large group of boys whose intentions and attitudes are not exactly good, the fear of being reduced to a mere sexual object simply because of openly enjoying sexuality, the fear of change that can occur in the body in the face of an unknown situation with its corresponding impulses, the fear of assuming a new identity in a dangerous situation, the fear inherent in being a woman in a man’s world or certain situations that favor toxic masculinity. Of course, it is uncomfortable and violent to recognize oneself in these situations, but they are no less true, no matter how integrated they are in the subtext. It is not a question of provoking, but of pointing out openly those fears that are often silenced, which exist unconsciously and which, unfortunately, many of us have suffered firsthand.
In addition to the subtext being excellent, the direction of Julia Ducournau is excellent, showing a narrative pulse of steel (or titanium, ha) where she guides the viewer’s gaze as she wishes, taking her time to present an urban underworld of neon and bodywork, emphasizing color coding for certain situations, making a perverse but the playful use of music, leaving traces of a certain dark humor amidst all that sea of such powerful sensations of suspense and revulsion, and the fact that with small details without being especially explicit or graphic it manages to make the audience shudder. .
As for the actors, the great weight is loaded Vincent Lindon like said father and Agathe Rousselle into a character who is better off saying nothing at all and finding out all about her as the images on the screen unfold. Both are totally devoted body and soul to the sheer madness that the story supposes, especially Rousselle, and are grateful that they jump into the pool with such confidence and determination.
It is understandable that for many viewers this madness, an apparent lack of assembly, a strange coherence or absence of it, an irregular rhythm at least, the forcefulness of the packaging and content, or in general how bizarre the proposal is, is a great barrier which they are faced with. Of course, the film It’s something that doesn’t leave indifferent and is destined to be loved or hated, but for better or worse it stays in the minds of those who see it for a while, circling through the brain waves as the mind tries to make a judgment when it reassembles the pieces about what he saw and, in the end, thank a headband risky and capable of surprising.