
Julia Ducournau
Cast · Director · Writer
- Born
- November 18, 1983 · Paris, France
"I think there is a violence that is very specific to women filmmakers, in terms of horror: a violence that is inside, not a violence that you have to fight against, a violence that you have to manage within yourself. This inside-out makes all the difference." Julia Ducournau is a French film director and screenwriter. She attended La Fémis film school in Paris, where she studied Script Writing. In 2011, her short film "Junior" won the Petit Rail d'Or at the Cannes Film Festival, making clear her interest in the treatment of the body, the representation of the female experience and horror. In 2016 she released her debut feature "Raw", a tale of a modern-day cannibal with which she won the coveted FIPRESCI award, again at Cannes. Just three years later, she redoubles the bet with her masterful "Titane", a complex, sensitive and audacious film with which she becomes the first woman to win the Palme d'Or solo and establishes herself as the Queen of Body Horror (with David Cronenberg's approval!).

Bring Her Back is the New Benchmark for Elevated Horror


Cannes 2025: Nouvelle Vague, Demons and Politics


"The Last Girl" in Horror Films (Part 1)


Is it a good thing female directors swept the three major film festivals?


Julia Ducournau sabe filmar la angustia


Alpha e a Melancolia do Fim


El estereotipo de lo femenino en el cine de terror hecho por mujeres


Together (2025): Cuando amar duele más que la carne.


El fenómeno Neon/Cannes: Cine de autor + crítica social


Cannes 2025: Nouvelle Vague, demônios e política


Cannes 2025: Nouvelle Vague, Demonios y Política


Festival de Cannes: guía para entender cómo funciona, por qué es tan importante y qué esperar de esta edición 2025


El terror de descubrir quién sos realmente | Raw, 2016 | Migue Calabria | Sentido Critico


Una reflexión sobre las mujeres que dirigen, y tres directoras del género terror a punto de sorprendernos (otra vez)


"La sustancia": La nueva carne rompe sus límites


Camino a Halloween: Una guía de películas que quiero ver en octubre


Titane: el vínculo con lo maquinal y una identidad maleable


Crítica La sustancia (The Substance): el precio de la juventud eterna


¿Es bueno que las directoras estén dominando los tres grandes festivales de cine?
