“There is a lot of relativism because they know that there are no rules in medicine. “Doctors have a very specific take on mortality and the human condition, which is very distant,” Ducournau explains. Then, unexpectedly, a sliced-off finger starts to look like a forbidden delicacy, and quickly Justine is fighting to repress a craving to take a bite out of her classmates. During her school’s vindictive hazing rituals, she’s forced to eat rabbit kidney, which initially disgusts her, and later provokes a painful, infectious rash all over her stomach.
#RAW JULIA DUCOURNAU MOVIE#
Which isn’t to say that Raw doesn’t have moments in it that will stop viewers in their tracks – this isn’t a movie that shies away from the aftermath of its heroine’s newfound appetites. At a certain point, they’re just not talking about my movie anymore.”
But the whole snowball effect that there was on the Internet afterward – calling my movie ‘shocking’ or the ‘most hardcore movie ever made’ or something …. “I mean, they fainted and I’m really sorry about that. “I don’t think it makes me cool at all,” she says flatly when the issue of this unexpected word-of-mouth is raised. Ducournau, however, laments how that attention has warped the intention of the movie she tried to make. (It opens on Friday, March 10th.) A graphic, emotional thriller about a virginal, vegetarian veterinary student named Justine (Garance Marillier), who ends up embracing her inner ravenous cannibal, it’s earned raves since premiere at last year’s Cannes Critics’ Week – and an additional wave of publicity after a couple audience members passed out during a midnight screening at the Toronto Film Festival.įor some filmmakers, that kind of intense viewer reaction would be worn like a badge of honor. “A body that sweats, that pukes, that pees.” And one that hungers.įrom that initial germ came Raw, one of the most singular horror films of the last several years. “I wanted to present another option,” Ducournau adds. “No one can relate to that - we are only building up fantasies about the female body. “Female bodies portrayed on our screens and in our society always either sexualized to please men or glamorized to set expectations for women,” she says, her voice quickening on the phone. When the now-33-year-old French writer-director was plotting out her feature debut, she wanted to make a movie that spoke frankly about a woman’s place in the world.
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