7 movies like Titanium to watch for more disturbing genre mixers

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Editor’s Note: The following contains spoilers for Titanium.Titanium is one of our most directed and confident movies that also looks like 18 movies crushed together. Writer / Director Julia ducournau juggles elements of psychosexual thriller, ultraviolent serial killer horror, cyberpunk body horror, erotic sexual drama and serious family drama, all with some of the craziest and most inventive films of the year elapsed. It is also – and I cannot stress this enough – a woman who kisses a car and gives birth to a baby in the car.

How the hell do you recommend something like this? I have done my best here by compartmentalizing the different components of the unique Titanium, offering movies that give you different tastes that might well match a similar dish. Here are seven movies to watch next Titanium. Good luck!

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Anti-birth

Natasha Lyonne and Chloé Sevigny in Antibirth

Image via IFC Midnight

Natasha Lyonne is a aimless reveler existing in a wild, ex-military community of aimless revelers. But when she one day wakes up to discover symptoms eerily similar to those of pregnancy, despite not knowing she has had sex in a year, a gnarled and surreal conspiracy rears its ugly head, contorting and corrupting the Lyonne’s body in all kinds of visceral and psychological ways. With experimental drugs, government procedures and patriarchal manipulation plaguing every corner of Anti-birth, the film looks like an edible to Titanium‘s shot of oxy; it might not start with the most intense of highs, but once it hits you it never stops hitting you. Her ending “birthing sequence” is about the craziest birthing sequence you’ll see since, well, Titanium.

Accident (1996)

James Spader in Crash

Image via thin line features

the years 1996 crash is not a harmless and problematic user guide on resolving racism. Rather, it is a deeply disturbing psychosexual drama about a group of souls who discover and cultivate their car crash fetish. For these people, including newcomers James spader, the idea of ​​human beings injured in a car crash, the fusion of flesh and metal, the fusion of industrialization made and organic nature, is the only gratification worth pursuing. As you may have guessed, this crash comes from the master of psychosexual body horror David Cronenberg, whose obsessions and influences resonate at every moment of Titanium (although Cronenberg, aesthetically, tends to make images calmer and more cerebral than Ducournau).

I am alone

Philippe Nahon in I Stand Alone

Image via strand release

Provocative companion Gaspar Noéthe latest movies like Step into the void Where Climax may be more consistent with Titaniumthe kinetic, pulverizing aesthetic of, especially its first half of roaring, long takes and bright colors and sudden outbursts of violence. But for an equally deep, taboo, and disturbing character study of a broken father figure and his sad, perverse, and disgusting obsessions – and whether a child will save him or condemn him – Noah’s feature debut I am alone stands alone. It’s a dark and grimy thing; So much so that Noah adds an onscreen countdown timer to give his audience a chance to leave the theater before his terrible conclusion. Philippe nahon plays the nameless butcher, a man on the verge of crisis at every imaginable turn, a walking and imposing symbol of distorted masculinity. His thoughts on how to improve his life seem to meet nothing but despair and violence, with the exception of his beloved daughter (Blandine Lenoir). But even that fatherly love is influenced and corrupted by the film’s relentless nihilism, almost rendering the bizarre father / child relationship in Titanium looks heartwarming in comparison.

Madeline from Madeline

Helena Howard in Madeline by Madeline

Image via oscilloscope labs

A foolproof sprint through excruciating anguish and powerful catharsis (but not always by the healthiest means), Madeline from Madeline is a transport film by Josephine Decker, a work that feels from another world while drawing on a kind of primitive feeling that we all have. In thrilling, kinetically composed sequences of hand-held photographs and aggressive editing, the film follows Madeline (Helene howard in a related energy space for Titanium‘s Agathe Rousselle) as she desperately tries to cope with her personal traumas via an experimental theater troupe led by a sometimes mentor, sometimes manipulative Molly parker. Boundaries blur, temperaments heat up and emotions soar as the film flies faster and faster, managing to convey psychologically fueled episodes of suspense alongside gripping portrayals of human drama.

Born killers

Juliette Lewis and Woody Harrelson in Natural Born Killers

Image via Warner Bros.

Alexia (Rousselle) is a creepy serial killer. And in the first part of the painting, Ducournau presents his violent blows with formal experimentation, exaggeration and even jubilation. If this energy is what attracted you the most Titanium, buckle up Born killers. Using a litany of film and video formats, illuminating and filming each shot in a seemingly disparate style, and flooding everything with grotesque, Pierre Olivier cultivates a rather intoxicating and gloomy atmosphere, drawing Woody harrelson and Juliette Lewis through a devilishly satirical interpretation of Hell. This couple, a sort of “first MTV Bonnie & Clyde”, rampage across the country killing those who follow them, while media pundits like Robert Downey Jr. both criticize and glorify their actions. Stone’s work here is relentless and restless, an avant-garde phantasmagoria of images, sounds and provocations.

Swallow

swallow-haley-bennett-social-characteristic

Image via IFC Films

Alexia enjoys having sex with cars. Hunter (Haley bennett), the main character of Carlo Mirabella-DavisSwallow, likes to swallow inedible objects. And in the end, who are we to judge either?

Swallow uses this weird and disturbing trait as a way to explore themes of gender identity, oppression, and self-perception versus projected perception. It is also, like Titanium, focuses on an unorthodox pregnancy that could be corrupted by the inclinations of its central character, leading to a deep and dark psychological-visceral examination of the soul. And at its core, a central, seemingly strange question continues to shine through audiences: why don’t people just let her swallow what she wants? Why do we continue to insist on possession and control of women’s bodies?

Tetsuo: the iron man

A photo of Tetsuo: The Iron Man

Image via Fox Lorber

Tetsuo: the iron man is a fucking nightmare. In garish black and white, creepy, the director Shinya tsukamoto Makes us about as pure as we can imagine, an unlocking of his unattached subconscious, a cyberpunk-influenced horror show of sweat and flesh and sex and metal, metal, metal. Titanium featured a main character whose fetishes resulted in a sort of cybernetic and machine corruption of the human form as some sort of supporting detail. In Tetsuo, this is the main event; the quest to transform his body, the bodies of others, our entire world into an unstable and ungodly amalgamation of technology and skin becoming the guided missile of narrative, collateral explosions and all. It only lasts 67 minutes, but you will never forget it.

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