Why Julia Ducournau Was ‘Scared’ to Make Alpha

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Four years ago, Julia Ducournau received the Palme d’Or for her groundbreaking film “Titane,” a work centered around themes of found family and auto-eroticism. Her new production, “Alpha,” debuted at Cannes this week. Similar to her earlier films, it revolves around a young woman experiencing an extraordinary metamorphosis: In “Raw, ” it was cannibalism; in “Titane, ” vehicle impregnation; and in “Alpha“, the lead character (talented newcomer Mélissa Boros) undergoes a tattoo session with an unsterilized needle at a party, triggering a whirlwind of fear and anxiety. The story unfolds during the 1990s, where a mysterious virus is on the loose. This virus represents AIDS, although it presents itself in unique ways — those infected by this virus gradually turn to stone over time.

Alpha, along with those around her such as her friends and her mother – a medical professional dealing with patients infected by the virus – are all concerned that she may have contracted the disease. As she anxiously awaits her test results, she experiences bullying and ostracization at school, while at home she encounters an unexpected figure from her past: her uncle Amin, who has been absent since childhood and is a long-time sufferer of the virus. Through their shared struggles with stigma, they begin to form a bond, and the lines between the past and present become increasingly indistinct.

‘I’m not sure if we need a stylish representation for AIDS.'” In an article for The Wrap, Chase Hutchingson stated, “The manifestations of the disease, which transforms people into what appears to be marble, are as visually striking as they are emotionally wrenching.

I recently had a chat with Julia a few days following the film premiere, high up on a rooftop in Cannes. We discussed her experience creating Alpha and its response here. As always, she exuded an effortless elegance, lounging on a white couch in black denim, towering heels, a Prada tank top, and sunglasses.

It seems like your tattoo of a constellation holds a significant meaning related to the movie scene where Alpha draws dots on her uncle’s arm. Is it a reference to how Alpha perceives these needle marks as an opportunity for creativity and playfulness, symbolizing her childlike perspective? And by the way, in astronomy, “Alpha” is often used to denote the brightest star within a constellation, which you might have chosen to name your tattoo after.

In that heartfelt standing ovation, it’s safe to say that tears flowed abundantly among us all. The question on everyone’s mind is, what was going through our minds at that moment? Well, let me tell you. We were crying about the immense amount of ourselves we poured into this movie. Every single member of the crew has played a part in creating this story, and it resonates with so many people due to its relatable themes. It’s about the pain of letting go, the importance of grieving, of acknowledging hardships, of giving things names, and not passing on traumas to future generations. There was an overwhelming amount of love given to this film by everyone involved – actors, crew members alike. Over time, we’ve come to know each other’s life stories intimately. We’ve shared our struggles and triumphs. Our tears were a testament to the deep-rooted emotions that this film evokes for us – emotions stemming from a place of love.

During those 11 minutes, it seemed like you were experiencing a variety of feelings. Could you share what thoughts or emotions you were dealing with at that time?

To be completely honest, I was overwhelmed and touched by the audience’s response. When Thierry handed me the mic, I was trying to express those feelings. It’s heartening to know that we were able to convey what we intended, and the love we put into our performance was reciprocated. In other words, it felt like we weren’t working in isolation.

What does it mean when you say your movie is “super-exposing”? Well, for starters, it’s my chattiest film. I usually don’t like to use many words because I find them limiting. I fear that adding too many words can spoil the emotions and sensations in a scene by being overly explanatory or commenting on what’s happening. But for this movie, I couldn’t avoid using words. This is because it deals with what’s left unspoken by the family and society – issues like the disease, the impact of the pandemic. So, instead of leaving things unsaid, I knew dialogue would be necessary.

This approach affects both writing and character performance – it’s about not overtly expressing emotions but rather working from a deeper, more authentic place. It can be exposing because it requires intense empathy and constant understanding of the most human way to depict a specific scenario, particularly my main character’s journey. However, there were moments I wasn’t comfortable revealing – for instance, Alpha not witnessing an injection in a vein. In retrospect, perhaps I was unwilling to confront that scene myself. Therefore, it involved a lot of self-questioning regarding what the movie necessitates, always maintaining a connection with the characters on their level.

Are you able to provide an illustration of how a particular condition manifests? The concept took considerable mental effort to develop. I preferred not to explicitly refer to HIV/AIDS and its characteristics since that would necessitate an entirely different film – one with meticulous accuracy, rigor, and almost documentary-like precision. In my artistic world, I felt it inappropriate to tackle such a significant subject in a dreamlike manner. Instead, I wished to delve into the contagion of fear, its enduring impact on society, and how it leaves scars for future generations. The way this fear is propagated, leading people to shun those in need of healthcare, or to judge and ostracize them based on their lifestyle – that was the central theme I wanted to explore, rather than simply focusing on the virus itself. Essentially, I aimed to depict society’s response to such a condition.

When I understood I needed to fabricate the disease, my initial response was a desire to make the patients appear radiant. This task is significant because beauty is highly subjective and I feared the viewers might go to the film expecting to be disgusted or frightened, which would contradict my intention for this project. Instead, I began contemplating sacred and reclining images of saints found in cathedrals. The concept of a person harboring both life and death resonated with me as it mirrored the fear of mortality. In the scene where Alpha describes her teacher’s partner who has the virus as “beautiful,” she means it sincerely. It is through her perspective that the patients are beautiful, not mine as a director. The crucial aspect is that she finds them attractive, and I believe this will also be the audience’s reaction.

I can’t help but wonder about your thoughts on the criticism directed towards a certain aspect – an allegory representing AIDS, which portrayed AIDS in a positive light. Quite disturbing, isn’t it?

In a different choice of words, let me explain that the film doesn’t directly refer to AIDS but shares my motivation behind creating it. If I had intended to make a film about AIDS, this wouldn’t have been the one. Hearing your suggestion makes me feel both fear and surprise.

I find those criticisms unjustified, yet I was curious about your perspective. Do you take time to read reviews? Frankly, it’s hard for me to comprehend the notion that this production could be glorifying AIDS. It seems utterly preposterous and disconnected from my own feelings. However, the motivation behind wanting to portray these characters as beautiful is to commemorate something sacred in the tragic deaths that were never properly mourned. There has been no recompense for the way society treated AIDS patients throughout history. This lack of justice is what keeps us pushing forward with this project. It’s astounding that we’re still discussing it 40 years later, and I believe that’s because these characters serve as a monument to the memory of those we have lost.

I appreciate your understanding — she reminds me of a masterpiece, like a Vermeer. Her face is round, soft, and somewhat childlike, yet delicate. I understand now why you find her appealing. Initially, I didn’t want to work with someone so young for this film as she was 19 during shooting. However, she is an exceptional actress with a keen sense of humor that appealed to me. Teenage years have always fascinated me due to their peculiar blend of humor and grotesqueness. I hold them in tender regard. She excels at portraying the comedy of being quirky, awkward, yet vulnerable. She has an expansive range of emotions. We auditioned young women between 18 and 20 who appeared younger than their age. Her talent, instinct, improvisations, and quick comprehension during direction caught my eye. We seemed to share a mental connection, much like I experienced with Tahar and Gofshifteh. There was an immediate empathy between us, which I believe was mutual as well.

Were you deliberately avoiding the conventional notion of a “monstrous” or frightening third feature? Or was it more of an organic process based on personal growth and the evolution of societal norms? In truth, this project wasn’t initially intended for me at this point in time. I had been contemplating it for quite some time, even before ‘Titane.’ Initially, I thought I would work on it when I was much older, as I felt a sense of apprehension, desiring more life experience and maturity to tackle such a project effectively.

What made you feel afraid? I was scared to confront the maternal figure, and that’s what I felt fearful of. At the time – not anymore – I thought I wasn’t mature enough to confront it. It involved breaking free from the paternal bond, which I explored partially in “Titane” and to some extent in “Raw”. The paternal figure is someone you often look to for validation. If unresolved issues with your father are present, this search for validation can be very traumatic because it may be transferred to society. In essence, these films revolve around that emancipation, allowing one to be true to themselves or as they perceive themselves once free from that bond.

In the context of a character’s development, it’s particularly challenging when dealing with a mother figure. This isn’t about seeking validation, but rather about breaking free, literally, from the confines of being born. It’s about detaching from the initial bond, which is deeply complex – often involving idealization, whether positive or negative. The character must also detach from themselves during this process, which is incredibly difficult. I wasn’t sure how it would all pan out for Alpha. I found myself pondering, “What comes after emancipation? Who are you then? How do you redefine yourself?” It’s about transforming into a new person, creating a different bond without the physical connection, similar to cutting the umbilical cord. Freud said “Kill the father,” but that’s simple. I handled that in ‘Titane.’

That’s quite straightforward!
[Chuckles.] You see, she essentially takes on the role of her own mother’s parent. It seemed like the only way for her to find independence and survival in this troubled, decaying world. To nurture her mother was the key. And it struck me as a testament to empathy and solitude. Once you’ve broken free from that bond, you understand how isolated you truly are in this world. But it’s also a demonstration of boundless, unconditional love.

Wow, it seems like you’ve managed to encapsulate a decade’s worth of therapy in just a few lines! That’s quite impressive. I’ve been at it for a bit longer, so perhaps that’s why. But hats off to you too – I know how difficult this journey can be. Keep going!

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2025-05-22 23:55