![]() ![]() I think the fact that women want to tear up the skin is very interesting. With women choosing the topic of cannibalism in the same moment, I think it's absolutely mind-blowing. All genders have to fight for it because it's going to benefit everyone. I do believe that there is a fight for equality that has to be made. Actually, I think of Adrien and the father as tragic heroes. It's definitely a feminist movie, but it's not a movie against men and about how women should kill men or anything. It's not about women eating men… That would, again, be reducing the topic. Where do you think that fascination comes from?** I know! That's amazing. I'm sure you've noticed many women-including Ana Lily Amirpour, director of The Bad Batch** -are making cannibalism movies right now. If he had been heterosexual, everyone would have thought, "Okay, they're going to fuck." Then it would have reduced the essence of this very complex and absolute relationship that I wanted to build up. Yet they found each other in this same room, and they're going to be friends, lovers, and everything, because they need each other and because they have recognized each other as an alter ego. It was very important to show that she's younger and heterosexual, and he's a bit older and homosexual. It was very important, since the beginning of the movie, he would not sexualize her, that he doesn't represent some kind of potential sexual context in the beginning. ![]() ![]() He's the one who looks at her with empathy, with tolerance, and this is what I wanted my audience to feel for her. This is a very important character because he represents the eyes of the audience on my main character. I'm curious about your choice to make her male love interest gay. You don't need to have had a bikini wax to understand that this is torture." "I wanted to take the female body outside of its niche and make it universal. You don't need to have had a bikini wax in your life to understand that this is torture. I managed to make everyone in the audience react to it. I really wanted to take the female body outside of its niche and to make it universal. Of course, my aim is to build up an empathy that reaches the whole audience, not only women. In the waxing scene, which is an archetypical feminine scene, I thought, "How am I going to make this scene universal?" I wanted men and women to feel for her. I can't relate to the sexualization of the body and I can't relate to the glamorization of the female body. Since this work is around bodies and involves a lot of sexuality, I have more to defend with a female character because I do believe that the way the female body is portrayed on our screens is unrelatable. At one point I thought it could be a guy, because you explore all options. This waxing scene is very important to me, because it's not by chance that I chose to have my main character be female. The Brazilian waxing scene made me the most squeamish. You touch on the horrors of being a woman, too. Actually, I see a lot of positivity in the figure of the monster, if it's seen in the first-person narration. Does this mean that you're a monster? I don't think we have to fit in. Yeah, people tell you you have to fit in and you don't feel like you can fit in. It reminded me, to an extreme degree, of my first year at college. There are other horrors here, like growing up. I've always found that funny, because we have all felt-and we will, and we sometimes still do feel-like monsters, you know? For me, the concept of monstrosity should be seen as "I," not as "they." For me, this is a point where my audience can actually relate to my character no matter what she does. Usually monsters are called "them." They are creatures from outer space, or zombies, stuff like that. I like that this is a horror movie with no clear villain. As can be expected, this goes horrifyingly wrong. At school, she joins her older sister Alexia (Ella Rumpf), who shows her how to dress cool and fit in, and gives Justine her first Brazilian wax. Her anti-heroine is Justine (Garance Marillier, also in her first feature), a veterinary student who finds a new appetite for flesh-especially of the human kind-after a freshman-year hazing gone wrong in which she breaks her lifetime practice of vegetarianism to eat a raw rabbit kidney. But Julia Ducournau, the first-time feature director of the visceral and brilliant French horror Raw, isn't interested in misandry, and she eschews predictable narratives of women avenging men by eating them. Agnieszka Smoczynska showed us cannibal mermaids who feed on men in this year's The Lure, and Ana Lily Amirpour will put cannibal romance on our movie screens later this year with The Bad Batch (and in her 2014 vampire film A Girl Walks Home Alone at Night, her leading lady only feasted on men). Cannibalism is pretty hot right now, especially among female filmmakers. ![]()
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