“…Garance Marillier’s on-screen transformation from doe-eyed virginal innocent, into an almost demonic lustful deviant is both powerful and highly convincing.”
“It’s a family affair” enthused Sly & The Family Stone in their 1971 soulful classic, though I’m not entirely convinced that any such genealogical affirmations were pertaining to a generational compulsion to nibble on human flesh!
But I could be wrong.
All contrived cultural references aside for a moment, Raw is director Julia Ducournau’s splendidly squirm-inducing cannibalistic shocker, trumpeting the merits of the deceased as a feast. A film which by all accounts has caused all manner of repulsion and outrage at screenings since its launch.
Good. More of this please.
To be honest, if you boil the film’s plot and key components down into its simplest form, it will probably raise an eyebrow or two of the sceptics amongst us, but so well is Ducournau’s warped vision realised, and so convincingly is it portrayed by all concerned, you can’t help but be drawn into this most peculiar of tales.
There is a scene early on in Raw when a mother almost loses her mind over the fact that a roadside cafe’s lackadaisical approach to food serving technique results in a meatball being inadvertently secreted within a big pile of mashed potatoes and then served to the woman’s daughter. No big deal you may surmise, but so puritanical is this particular family in its dogged devotion to vegetarianism, you’d assume something far more sinister had occurred given the song and dance that she proceeds to make of it all.
But such a hullabaloo is not without good reason, as will ultimately be revealed.
Her daughter, Justine (Garance Marillier), is being driven to veterinary school. There, she will hook up once again with her older sister, Alexia (Ella Rumpf) – also pursuing a career in veterinary science – who is a year or two ahead of her, in her studies. This is no ordinary vet school, however – or perhaps it is? I never studied veterinary science, after all – and in a fashion that we’d sooner probably associate with the likes of an Eton or Oxbridge, all manner of bizarre inductions and initiation rituals are thrust upon the first year students.
One such trial involves the scoffing down of raw rabbit kidneys. This would be insane enough for a non-questioning omnivore, let alone a devout vegetarian such as Justine, for whom the entire notion is preposterous. But against her will, and shall we say ‘encouraged’ by her older sister, despite much protestation and considerable gagging, she sees the ordeal through.
For most, this could probably be chalked off as extreme high jinx, but for Justine, it proves to be the catalyst for something altogether more disturbing as she awakens a deep-seated, almost compulsive craving for flesh.
More taboo-busting art house picture than horror flick, though bordering on vampirical at times, Raw is unashamedly graphic and ghoulish in its presentation, closely tracking Justine’s rapid and seemingly unalterable descent from innocent beetroot-biter into what is gradually revealed to be both her genetic disposition and destiny, a full-on flesh-feeder – human flesh, at that. Indeed, Garance Marillier’s on-screen transformation from doe-eyed virginal innocent, into an almost demonic lustful deviant is both powerful and highly convincing; an inspired piece of casting from Director Ducournau.
Greatly enhanced by a pulsing and persuasive soundtrack – anchored by Jim Williams’ wonderful recurring, swirling, stately Baroque-tinged and menacing main theme – Raw is a macabre, frequently uncomfortable but darkly humorous film that successfully marries substantial helpings of toe-curling gore with beautifully vivid and seductive colour; an at times almost ethereal experience.
A highly original piece that certainly won’t be forgotten in a hurry, Raw can quite rightly claim its place in the ‘must-see’ list of 2017.