Titane Movie Review; Iron Age and predatory temperament, make a golden palm


the movie Titane Julia Ducorno’s second film, similar to her first film, links the predatory nature of the inner world to external events. The world that Dokorno presents in Titane introduces the audience to the different dimensions of the first character and bridges from a real world to a surreal world.

From the very beginning of the film, Docorno explores the reason for Alexia’s lack of love. Consider a girl whose goal is to get her father’s attention but who does not receive love from her father. So it is not unreasonable that in the event of an accident, his love for cars and iron should be replaced by his fatherly love. And this inner transformation and alternative desire is also reflected in Alexia’s appearance and changes in her face. It is as if it is iron and titanium that gradually grows in him until a child of the same sex gives him.

Alexia, a child and a device in a scene from the movie Titan

To advance his drama, Docorno employs the sub-genre Body Horror‌ in order to portray his explicit horror of such a situation in the rules of the genre. Now, these changes in Alexia’s appearance and interior make the screenwriter consider a job that suits Alexia’s personality traits, a job that has to do with industry and machines. The connection that takes Alexia closer to the machine world and away from the human world.

Moving away from the human world and advancing towards unification with the machine and metaphorically industrialization makes the protagonist a murderer. The problem with Titan’s screenplay here is that it ignores how Alexia turns into a serial killer. If he hated humans because of his father’s behavior, why is he able to kill anyone but his father? In fact, the suspension of this issue in the film, which is mostly due to the display of Alexia’s scary aspects, overshadows the logic of the first screen of the script.

Alexia in a scene from the movie Titan

Now, when the film seeks to replace Alexia’s relationship with the machine in her relationship with humans, she is unable to describe what is going on inside Alexia. Even if we consider Alexia’s fetus as a metaphor for her existential violence, these forms still remain strong. After Alexia’s first serious encounter with the car, the pain covers her whole body, and this reminds us of Justin’s severe itching in Raw. In doing so, in addition to promising the beginning of a new transformation in Alexia, Docorno clearly refers to his previous film, as Alexia completely changes her appearance to become a boy in order to escape from her family. , The script finds its logical course.

At the first turning point in the script, which Vincent tells police is his son Alexia, it is not difficult to understand that he has left a long void. Of course, the question of whether Vincent realizes from the beginning that Alexia is his son remains unanswered. Vincent’s presence in Alexia’s life, according to screenwriting patterns, is supposed to revolutionize Alexia’s character, and this change is likely to bring human traits back to Alexia. But at this point, and Vincent’s relationship as new father to Alexia, there are a few things to consider; How and with what behavior does Alexia succeed in attracting Vincent and attracting his love? If Vincent was going to accept anyone in place of his son, then why does he wait ten years to find his son? We also do not know much about the relationship between Vincent and his son in the past that we now believe in such love for Alexia.

Vincent in a scene from the movie Titan

Despite the weaknesses that plague the film at this point, the film has several strengths in this regard. Among other things, Vincent is a firefighter. Firefighting is one of the professions in which altruism comes first. So it is possible to understand to some extent what kind of personality Vincent has, and when Vincent rushes to Alexia’s aid and takes her under his banner, the importance of the director choosing such a job doubles. Just look at the scene where Alexia is reviving the old woman as opposed to the murders she commits at the beginning of the film. From this point of view, it is not difficult to believe that Alexia is changing. Vincent’s love for Alexia is supposed to come at the cost of the harassment Vincent has to tame to tame Alexia and accept children mixed with metal, or better yet, mixed with Alexia’s temperament. Just like Justin’s father at the end of Raw‌, who opens his clothes and the wounds inflicted by his wife’s attacks on her, it reflects the love affliction he endured to tame his wife. It is as if in the world of Dokorno, love and every other beautiful concept must be taken out of the heart of the hell of the real world. Here even those Alexia and Vincent dances can be understood in collision with machine dances. A human dance as opposed to a machine dance.

Alexia as a child in a scene from the movie Titan

The relationship between Alexia and Vincent, with the change of level, reaches a point where acceptance is the most important event. Vincent’s acceptance of this savage temperament in the first place and his association with the girl is so acceptable to this man that even after seeing Alexia’s girlish body, he is still willing to accept her. It is this acceptance that gradually gives Alexia the courage to perform her feminine dance in front of all the firefighters and somehow return to her true identity. Alexia must become her real self in order to get rid of the fetus trapped in her being. A fetus he is unable to accept. He must rediscover his human qualities so that everything will take shape for him and this suffering of body and soul will end.

In general, Titan is an attempt by Dokorno to show how the predatory nature of modern man today can divert him from the path of humanity. A metaphor that focuses more on the psychoanalytic aspects than on the relations of capitalist power, and it is this that can be accepted as the logic of the not-so-real world of film.

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