French director on her curious film taste
TORONTO — When moviegoers started passing out during a Canadian screening of French gore flick Raw last year, director Julia Ducournau took it in stride.
She knew bringing her movie about a cannibalistic student to the Toronto International Film Festival would churn stomachs.
So Ducournau wasn’t exactly surprised when a couple of queasy patrons sought medical attention in the theatre lobby. It helped Raw became the talk of social media as people called it one of the best horror movies in recent memory.
Except Ducournau insists it isn’t a horror movie at all.
“It’s a crossover between a teen movie, comedy, drama and horror — but it’s not a horror movie,” she says.
“In French we call it a ‘genre’ movie.”
Whatever it’s labelled, Raw is an undeniably twisted story of a young vegetarian who gets an unexpected taste for human flesh.
Raw made its Canadian debut on video on demand and digital download this week.
Ducournau talked to the Canadian Press about making gory movies and her adoration for Canadian director David Cronenberg.
CP: People have been talking about the graphic scenes in Raw, calling it one of the best horror films in recent memory. But you’ve been especially determined to stay away from labelling it a horror film. Why?
Ducournau: I’m a very big horror buff, but the reason I like horror is because I intend for it to make me scared. I really want to jump off my seat and put my hands in front of my eyes. It’s not why I wrote this movie. I didn’t choose any of this drama — or [use] jump scares. It’s not scary, it’s disturbing. The Fly is not scary. It’s very unsettling and disturbing, but it’s not scary.
CP: Sounds like you’re talking about Cronenberg’s 1986 remake of The Fly. Do his films influence your work?
Ducournau: It’s not like I sit and watch a Cronenberg movie before writing. Of all the movies I’ve seen he’s probably the biggest influence. For me, [his thematic treatment] of death is something I really relate to. I keep on watching his new movies and old movies all the time. They’re really solid … make you feel and think.
CP: Much attention has been paid to you being a rare female director who’s keen on making films that embrace gut-wrenching moments. How do you feel about so much emphasis being put on your gender?
Ducournau: I think it’s depressing. I did a movie that I hope aroused interest because it got good reviews and people wanted to watch it. If it’s only because I’m a woman it means I’m pretty much as worthy as a monkey who can juggle on stage. I’m not a monkey, I’m a filmmaker.
CP: But for argument’s sake, you made a film that has a specific female viewpoint. There are several moments between the two sisters in the film that perhaps a man wouldn’t have portrayed quite the same.
Ducournau: I’m not sure of that. I don’t like to genderize movies, actually. For me, this movie could not have been done by a man — I’m the only human being [who] could’ve done it. I could also bring my life experience into talking about two brothers, no problem. A transgender person, a gay guy, whatever — who cares? For me there is no gender in a situation. There is no “men cinema” and “women cinema” — there is cinema and you have individuals making movies, that’s all.
CP: Your next project is about a female serial killer. What was the attraction to making what’s surely another gory film?
Ducournau: It’s funny because everyone seems to be astonished that I’m going to keep up with the genre, but this is how I think. It’s good to persevere in one direction and learn the craft. It’s going to take a lot of time. You see this in Cronenberg’s movies. He went really deep into body horror, and his philosophy really developed from Scanner to Dead Ringers. It became deeper and it took so many years. I really like the way he’s evolved his career.