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She is hungry; this is how she eats."Raw," a terrific debut feature from writer-director Julia Ducournau, uses this startling overture as a prelude to a story of one teenage girl's coming of age at a veterinary school during initiation week.
It's mainly about all the BS women have to put up with today, in the name of fitting in and growing up.
Playing squarely into the “white saviour” narrative, everyone speaks perfect English around Jack, who masters kung fu literally overnight and – massive spoiler alert!
– even gets the girl, despite Chao’s age-appropriate hunk waiting in the wings.
It arrives just in time, at a moment when genre filmmaking can harness familiar tropes to reflect a post-election world that feels increasing surreal, backward-looking, and unfamiliar.
Hong Kong’s Francis Ng Chun-yu fares less well, however, as much of his comedic wizard sidekick part seems to have been excised.
Scene: a tree-lined French provincial country road, on a breezy day, leaves swirling across the asphalt. Suddenly a woman, photographed from a calm, discreet middle distance, leaps out from behind one of the trees. It's a wild premise treated with droll understatement, though "understatement" sounds wrong given the film's viscera quotient.
She bolts into the road toward an oncoming car, causing a wreck. Like all good horror films (though it's more of a psychological thriller with a teeming, festering wealth of body-horror preoccupations), this one takes its central theme — cannibalism — as a way into a variety of other matters, other indicators of a society and a psyche under extreme duress.
well, yes, before we get to the "aside," we should note that there are some difficult, yecccccchy images in "Raw." But Ducournau, who is now 33 and who developed her first feature out of a short called "Junior," has firm, exacting control over her material.
It's the strongest picture guided by a female protagonist I've seen this year.