“Doctors have this very upfront yet distant way of talking about bodies and death,” she says. And you feel it with her.”ĭucournau says her flesh fascination stems from her childhood: her father is a dermatologist, her mother a gynaecologist. When she has a rash, when she starts puking, it talks for her, there’s something wrong. In movies, I don’t like it when people call their friends saying: ‘I don’t feel good, I don’t know what’s going on with me.’ Body transformation talks for the character. “And then you try to be more in touch with how you really feel. If we go to the doctor with such an affliction, they may well explain that it’s stress-related, says Ducournau. “The way the body evolves and reacts, it’s like a preview of what you’re going through in your mind,” she says, and talks about the rash Justine suffers after her first taste of meat. All three contain copious amounts of body horror. She directed a short, 2011’s Junior, about a girl who sheds her skin, snake-like, after contracting a stomach bug, and then Mange, a TV film in 2012, about an ex-bulimic seeking revenge on her college tormentor. ![]() Because we are all monsters, really.”ĭucournau grew up in Paris, and studied screenwriting at the film school La Fémis, leaving in 2008. So I thought, since my characters always feel like monsters deep inside, I wanted the audience to feel like a monster as well, and to understand what she’s doing. This thing is in us, we just don’t want to see it. You have this feeling when you bite someone’s arm for fun, that you want to go a bit further, but you don’t because you have a moral canvas. Some tribes do it ritually and have no shame doing it. “I thought it was very funny how people tend to qualify as monstrous or inhuman deeds that are actually very human,” she says. Raw: watch a clip from the feminist cannibal horror film Guardian You have this feeling when you bite someone’s arm for fun, that you want to go further Julia Ducournau We’re all equal with our bodies, so fuck off.” ![]() ![]() Always in movies when people cry, they cry like this” – she mimes a sorrowful weep – “like Saint Mary crying. ![]() This is something we don’t see enough of. This is why you can relate to them, because they are not these heavenly creatures they are real people with real feelings, and when they go down, they go down. In every movie we see, women have to be beautiful and fit or whatever the hell, and they have to fit a certain box, and no: women fart, poop, pee, burp. “I didn’t want to glamorise anything, especially with the girls’ bodies,” she says. She wanted to show how even these majestic creatures are at the mercy of their bodies, she explains, and becomes defiant as she links that back to Raw’s central character, 16-year-old Justine (Garance Marillier). It’s distressing, watching the beast collapse after being administered ketamine, and more so because Ducournau presents it so matter of factly: she got permission to film a sedation that was already scheduled to happen at a veterinary school, and just stuck her actors in the frame. Early on in Julia Ducournau’s Raw, a group of veterinary students are shown how to sedate a horse.
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