Alpha review: Titane director Julia Ducournau’s latest is undercooked and asinine

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A star rating of 2 out of 5.

In the movie by Julia Ducournau titled ‘A’, it unfortunately comes across as ‘Foolish’ or ‘Stupid’.

The acclaimed French filmmaker responsible for the captivating movie “Raw” and the startling “Titane,” awarded Cannes’ Palme d’Or in 2021, clearly hasn’t abandoned her knack for challenging audiences with her latest work – marking the third film of her career.

Although the film boasts striking visuals and outstanding performances, particularly from Tahar Rahim, this newest foray into body horror seems incomplete. The central idea is not thoroughly developed, leading to a state of perplexity that unfortunately turns into boredom rather than maintaining intrigue.

At the Cannes Film Festival, the film Alpha debuts with its title character, 13-year-old Melissa Boros, arriving home displaying a rough tattoo of an ‘A’ on her arm. This simple but crude symbol, resembling Hester Prynne’s Scarlet Letter, causes her mother, Golshifteh Farahani, to become extremely agitated.

She has valid worries that the needle could be contaminated (“Is it safe?” she cries out), so she promptly takes her to a hospital for a tetanus injection. Interestingly, in this medical drama, Emma Mackey, portraying her character in French, is the caring nurse on duty.

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Through the screenplay penned by Ducournau, we find a metaphor for epidemics such as AIDS or even COVID-19. As the narrative unfolds, it becomes clear that Alpha’s mother is a doctor treating individuals afflicted with an ailment that hardens their bodies in a manner reminiscent of ash.

It transpires that Amin (Rahim), her drug-addicted brother, experienced something similar, and the movie shifts, in a dream-like fashion, back eight years to when Alpha was just five and Amin was caring for his niece. Despite the challenges, it’s evident that Alpha admired Amin, yet it seems unlikely for him to be the responsible role model she yearns for. “I’m not your father,” he states.

Rahim, famously recognized for his powerful performance in Jacques Audiard’s gripping prison drama “A Prophet,” fully immerses himself in his character. His appearance becomes strikingly thin and gaunt, much like Christian Bale in “The Machinist” and Joaquin Phoenix in “Joker.” By his own account, he reportedly shed approximately 20 kilos for the role.

His sister teases him by saying he’s as good-looking as always, yet his appearance is truly striking. It’s undeniable that he gave his all physically for the role, and it’s a bit disheartening that this immense effort seems underappreciated due to the final product falling short of its worth.

In essence, could we consider this as a coming-of-age drama? Possibly. At one juncture, Farahani’s mother expresses her desire for them to be an ordinary family. However, in the unique world depicted, which appears to be an alternate France in the late 1990s, such normality may not be achievable.

In visual terms, there’s something to catch your eye (even if it’s not necessarily beautiful). Once again, Ducournau collaborates with Ruben Impens, her Belgian cinematographer who has worked on Raw and Titane. Here, they opt for a dark, ink-like color scheme for the scenes that take place in the film’s current setting.

Additionally, there are numerous sequences tinged with a peculiar, reddish hue that seem rather enigmatic. However, this confusion appears insignificant to Ducournau, who seems immersed in her own realm within these peculiar visuals.

More reviews from the Cannes Film Festival:

  • Die My Love review: Jennifer Lawrence is superb in this absorbing and quietly devastating drama
  • The Phoenician Scheme review: Wes Anderson’s latest is a quaint tale of industrial espionage

She undeniably carries on the legacy of David Cronenberg, and she never wavers from her creative perspective. However, this piece seems to stray off course and lacks clarity, appearing more like rough brainstorms than a unified concept. By the conclusion, you’ll find yourself yearning for the straightforwardness of Raw, Ducournau’s initial work which tackled cannibalism.

Watching the young Boros is captivating, at least, and the Iranian actress Farahani (familiar to Jim Jarmusch fans from Paterson) shares a convincing connection. However, this alone doesn’t quite keep you fully engaged.

Suited for those with intense preferences within certain genres, Alpha might prove an appealing choice, yet it could be a challenging watch for many. Although it tackles intergenerational trauma, enduring such a film may itself become a form of trauma for its viewers.

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2025-05-20 20:04