ABSTRACT

Before receiving the Palme d’Or for her second long feature film Titane (2021), Fémis-educated, punk-looking, thirty-something director Julia Ducournau disrupted French cinema and the Horror genre with Grave (2016), awarded the Critics prize at Cannes. Grave features high-school graduate Justine as she undergoes hazing at the veterinary school her sister Alex/ia attends. Strict vegetarian Justine’s values and sense of ethics are shattered by the forced ingestion of a raw rabbit kidney. A coming-of-age story, Grave depicts Justine’s struggle with cannibalistic urges and her growth as an individual. This article argues that what makes Justine monstrous is the systemic ‘carno-sexist’ boys club she lives in—representative of our society—and that uses hazing as a form of conditioning to a system that she rebels against. With Grave, Ducournau transgresses and reframes the cannibal cinematic subgenre and advocates a compassionate world that only an active rebellion against alienating categories, practices, rules, and laws can achieve.

摘要

在凭借第二部长片《泰坦》 （2021 年）获得金棕榈奖之前，三十多岁、受过女性教育、长相朋克的导演朱莉娅·杜库诺 (Julia Ducournau) 凭借《坟墓》(2016) 颠覆了法国电影和恐怖片类型，并获得了影评人奖戛纳。《格雷夫》以高中毕业生贾斯汀为主角，她在姐姐亚历克斯/亚就读的兽医学校遭受欺凌。严格的素食主义者贾斯汀的价值观和道德感因强行摄入生兔肾而崩溃。一个成长故事，坟墓描绘了贾斯汀与食人欲望的斗争以及她作为一个个体的成长。本文认为，贾斯汀之所以如此可怕，是因为她所生活的系统性“卡诺性别歧视”男孩俱乐部代表了我们的社会，而这个俱乐部利用欺辱作为对她所反抗的制度的一种调节形式。杜库诺在《坟墓》中超越并重新定义了食人电影的亚类型，并倡导一个富有同情心的世界，只有积极反抗异化的类别、实践、规则和法律才能实现这个世界。