7/10 “Titane” was an all-time first for me. Never in my entire life have I had to leave a theater while a film was playing. I vividly remember having to go to the bathroom during “X2: X-Men United” and “Deadpool” but I held it in like a champ. When my sister passed out during “Black Swan” back in 2010 because the sound of bones cracking triggers her, instead of rushing for help I calmly took care of her myself in the theater until she felt better. If I haven’t seen a film before I would sooner wet my pants than have to leave and miss a single moment. So when I went to see “Titane” having heard it was an extremely disturbing film, I was excited. I have a high tolerance for blood, gore, torture, violence, etc. due to years of becoming desensitized to mature content. However, like my sister becoming queasy due to the sound of bones cracking or breaking, I have my one trigger too…self-harm/mutilation. (Although for some reason the “Saw” franchise has never bothered me). I can watch people do anything and everything to each other but when I see characters harming their own bodies, it makes me physically nauseous. While taking a nonstop flight from China back home to the US back in 2015, I remained seated for the entire flight, making the mistake of never getting up to go to the bathroom or stretch my legs. I watched “127 Hours” and it came to the end when James Franco’s character begins cutting his own arm off and I began feeling sick to my stomach. We were only an hour away from landing and I had made it so far but I figured I would go to the bathroom and look away from my screen. Well I walked to the bathroom on the plane, started to stumble and then fade to black. I wake up with three flight attendants over my body and I wet my pants because you can’t really hold in urine when you are unconscious. I hit something on the way down and still to this day have a scar on my left arm from the fall. Embarrassingly comical story aside, watching a man cut his own arm off messed me up. Well about 45 minutes into “Titane” the main female “protagonist” (I use that word lightly due to the horrific murders her character commits) ends up breaking her own nose and that scene gradually became more and more graphic. All that was on top of everything else disturbing which had taken place beforehand such as murder, sex with a car, oil leaking from human genitals, etc. This film is extremely disturbing, graphic and not for the faint of heart. After the nose break scene ended I thought I would be fine but my queasy, uncomfortable unease never left me and not wanting to puke or pass out in the theater, I left and went home. Not one to surrender easily, I came back two days later and finished the film. I did make a bathroom break during the nose breaking scene but since I had already watched that scene, I didn’t miss anything new. Now that I have watched the entire film, I can properly rate it but I will try to keep the rest of this review brief since I spent so much time on my personal stories/introduction. Despite how messed up this movie is (easily the most disturbing film of 2021), it was extremely original and had a vibe that felt like a cross between a David Lynch and David Cronenberg film. The score from Jim Williams was memorable and haunting, while a couple tracks echoed the late, great Ennio Morricone. Director Julia Ducournau (“Raw”) improves her directorial talent from her last film and is, pun intended, firing on all cylinders here. There are little hints/clues involving robots/machines sprinkled throughout the film that tease the final reveal in the ending scene, which was brilliant. The acting was phenomenal and I admire the dedication from leading actress Agathe Rousselle (in her first full length feature film role) to bear it all in her performance and leave nothing behind. The film acts like two separate films rolled into one with the first half focusing on Rousselle’s Alexia character committing heinous acts and reigning down terror on all those around her. You think the madness will continue to escalate in the latter half of the film but once she meets Vincent (Vincent Lindon), the film pivots to, dare I say, a sweet, heartfelt film. Vincent lost his child in a fire and takes in Alexia (now Adrien) as his son. While strange at first, they develop a sweet relationship that brings heart to the film that previously lacked it. As she hides her true gender from her new father figure (even harder to pull off while pregnant), the story focuses a lot on Vincent and his struggles with growing older by himself. The script was strong, the imagery disturbingly memorable, the direction solid, the acting top notch and my dreams most likely forever haunted. The only film I’ve ever had to willingly walk out of a theater during, this French film will shake you to your core and have you verbally asking, “WTF?” every few minutes, but I applaud Ducournau’s valiant efforts to get a reaction out of her audience. It sure worked on me.

#BoysDontChrysler / #BabyCaddy / #INeededABrake / #AutomobileEroticAsphyxiation / #PedalToTheMental / #TheFastAndTheBiCurious

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