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cruelfeast · 3 months

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Raw (2016) dir. Julia Ducournau

#raw #raw 2016 #grave #grave 2016 #julia ducournau #horroredit #mygifs #myposts

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percocet · 2 years

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MOVIES WATCHED IN 2022: Raw (2016) dir. Julia Ducournau

#screamed at this line #raw #raw 2016 #rawedit #garance marillier #julia ducournau #.mine #.movies22 #filmedit #cinemaspam #filmgifs #doyouevenfilm #fyeahmovies #moviegifs #cinemapix #eyestrain //#blood //

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tvandfilm · 2 years

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Raw 2016, dir. Julia Ducournau

#raw #filmedit #tuserdana #usergiles #userconstance #filmgifs #moviegifs #gifs #by kayleigh

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thewintersoldier · 1 year

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Horror Movies + nosebleed plot devices

Raw (2016) - dir. Julia Ducournau The Ring (2002) - dir. Gore Verbinski Firestarter (1984) - dir. Mark L. Lester The Autopsy of Jane Doe (2016) - dir. André Øvredal Fear Street Part One : 1994 (2021) - dir. Leigh Janiak Get Out (2017) - dir. Jordan Peele Let The Right One In (2008) - dir. Tomas Alfredson Drag Me To Hell (2009) - dir. Sam Raimi Scanners (1981) - dir. David Cronenberg Doctor Sleep (2019) - dir. Mike Flanagan

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pondsphuwin · 7 months

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31 FILMS FOR OCTOBER: 9. Raw (2016) dir. Julia Ducournau

#31films #raw #raw 2016 #garance marillier #horroredit #horrorgifs #horror film #seamayweed #gif 3 #blood tw

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livgr3 · 7 months

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Panel 1: Gender, Genre, and Excess

CONTENT WARNING: blood, gore

Raw (2017) written and directed by Julia Ducournau

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"I’m fed up with the way young women and their discovery of sexuality is portrayed on screens ... For me, sexuality is in the body. And you should certainly not be a victim. It’s not something that you go through, it’s something that you are active in, and it’s perfectly okay. Your main aim should be to climax, because if it’s not your main aim, you’re never gonna climax. So, that’s what I wanted to show you: a sexuality that is not apologetic, shameless, in the body, in the now and aiming at climax." - Julia Ducournau, British film Institute, 2017 "Masochistic pleasure for women has paradoxically seemed either too normal - too much normal yet intolerable condition of women - or too perverse to be taken seriously as pleasure." - Linda Williams, "Film Bodies: Gender, Genre, and Excess," (1991)

Synopsis

Ducournau's Raw follows the demure, innocent young adult Justine as she begins her first year at a prestigious veterinary school, previously attended by her parents and currently attended by her older sister Alexia.

It is the school's tradition that all new students undergo a bizarre, humiliating hazing ritual. During this week-long ritual, Justine and her cohorts are forced to each eat a rabbit kidney. Justine, forcibly raised to be a strict vegetarian by her parents, refuses to eat the kidney until she is urged by her older sister.

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After her first taste of meat, Justine begins to change. She develops a full-body rash and an insatiable taste for raw meat, which soon devolves into cannibalism.

What is particularly interesting about her newfound hunger, though, is its direct correlation to her sexual awakening.

Genre

Despite its highly graphic content and horrific themes, I personally categorize Raw as a film in the coming-of-age genre that simply uses elements of horror as a visual and multi-sensorial tool through which to further explore themes of sexual discovery.

This brings me back to the two quotes at the top. Ducournau argues that the prototypical narratives of the feminine sexual awakening in the coming-of-age film far too often simplify the true complexity of young women's desires. These stories often conflate sexual attraction (to men) to the desire to be sexually attracted to (by men), crafting the woman as an inherent victim and object of male desire even if she is allegedly the protagonist of a narrative. In Ducournau's cinematic vision, to portray the woman as the active subject of her sexual desire is to separate her desire from man's desire completely. In order to achieve this exploration of the distinct and uncomfortable realities of female sexuality, Ducournau chooses to represent sexual hunger through cannibalistic hunger.

Much of Williams' musings on the horror genre reflect most feminist film theorists' consensus that horror sees women as its common victims. While Williams offers a few retorts on the state of female agency in horror, she ultimately concedes that horror caters deeply to men's psychosexual pleasures, whether they be sadistic or masochistic. In the quote above, Williams addresses the improbability of women's sadomasochistic pleasures guiding the cinematic gaze. She very interestingly describes women's desires as "too normal" or "too perverse;" women's sexuality is, deep down, known by the patriarchy to exist, but is far too big a taboo to openly talk about.

In Raw, Ducournau brings these unspoken desires to the surface in the most disgusting, unavoidable way possible.

Gendered Bodies and Excess

Another content warning (sorry Prof!!!)

Rather than rely solely upon the male/female gaze to address the viewer within the narrative, Ducournau uses various bodily sensations to suture the viewer to the protagonist's perspective. This is referred to multi-sensory spectatorship, in which the on-screen body evokes a sensation in the body of the viewer.

For example:

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This mirrors Williams' texts, in which she writes that "the body of the spectator is caught up in an almost involuntary mimicry of the emotion or sensation of the body on the screen along with the fact that the body displayed is female" (26). However, Justine in Raw does not just evoke feelings of fear, as Williams suggest women in horror typically do. Through a multi-sensory experience, Justine's sexual awakening addresses women viewers and invites them to welcome their sexual desires which have been deemed "too perverse."

She even addresses us by looking directly at the camera when the culminations of her cannibalism and sexual awakening meet:

Racialized Bodies and Excess

The film does not see Justine sexually engage with men until later into its narrative, when her sexual awakening has already been realized within her own terms. Here, Ducournau flips the hegemonic gaze and poses an objectification of men, with a particular scene of Justine gawking at men's topless, active bodies.

The most notable object of her sexual gaze is Adrien, her roommate. Adrien is ethnically ambiguous and the only non-white person in the main cast of the film. He identifies as gay early in the film, though he has sex with Justine and has an implied flirtation with her sister, causing his sexuality to also be ambiguous. As he is assigned Justine's roommate despite his being a male, their gender roles in relation to one another can also be considered ambiguous. This ambiguity deconstructs any binaries that would have helped us eaily define Justine's sexuality or sexual desire, but this results in the objectification of Adrien and his body.

It is also notable that Adrien is murdered for cannibalistic consumption, with his mutilated body one of the most graphic displays of the film. (not showing that here, you're welcome :D). This detail, along with Adrien's place as the film's only POC, still falls back on tropes of racial exploitation and excess as relating to the "Othered" body on screen.

Though Ducournau's film is quite remarkable in its methods of reversing and deconstructing the male gaze, its ironic objectification of men can get pretty hairy when the implications of racial objectification are not carefully considered.

Discussion Questions

(I hope the GIFs weren't too gross. Here's this:)

Do you agree with Ducournau's claim that young women's sexual awakenings in coming-of-age films are victimizing? What films can be described this way? Which ones can't?

Is the objectification of men the "solution"/rebuttal to the objectifying male gaze? Why or why not?

Why do you think cannibalism and sexual desire are often connected in horror films? Do you think this aspect of Raw is necessary to tell its story of female sexuality?

#oxyfilmidentity #@theuncannyprofessoro #oxyfilmidentity-fa23 #Youtube

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captaincolossal · 1 year

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Hey, remember the time I watched that massively award winning film about a woman getting fucked by a car?? I certainly do. Quite often. Like whenever I see a Cadillac or listen to that Kills song or watch the video of the car dance scene. Truly setting a high bar for weird sex in French films. The motor oil. Anyway, that was the directors' second feature film. So here we are, about to watch Julia Ducournau's first feature film.

Raw (2016)

This opening scene at the cafeteria or whatever is so normal, shit's going to get real weird.

#raw 2016 #movie funtime

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jmoviefilmdiary · 1 year

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Raw (2016) - Julia Ducournau

Actually, after I watched this film I felt really uncomfortable. For me, the movie is quite hard to understand, and every time the questions gave to me was more made me confuse and massy. It is like zombie who has a intelligent, but that's why made me feel bad during watching this movie. Because, it make the audience as the person in the movie character,

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pedro-pascal · 3 years

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