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Early Life
She was born in Paris. She left the school in 2008

Carear
The film was about a girl who “after contracting a stomach bug” began to “shed her skin” like a snake. In 2012 she released a TV film title "Mange." This film follows an individual who previously suffered from bulimia who seeks “revenge on her college tormentor.” Her film Raw is her most successful to date. Per David Fear of the Rolling Stones, Raw is a "contender best horror movie of the decade." In the fall of 2019, Ducournau’s new film “Titane” was bought by Neon. This purchase is one of a few, as the film distributor attempts to broaden its French cinematographic library. It recently purchased, the love story Portrait of a Lady on Fire, a French film by Céline Sciamma.

Theme and Style
According to the scholar Aldana Xavier, Horror films have historically been a male enterprise. These films are made for males, directed by males, and stereotypically depict females. Although, female directors such as Julia Ducournau have been pushing back against these societal assumptions. Per Xavier, Julia Ducournau films are considered Gothic Horror Heroinism. This is particularly illustrated by graphic body horror shown in all of her films. According to Julia Ducournau, her "flesh fascination stems from her childhood." Ducounau's parents are both doctors. Per Ducournau, the way in which her parents spoke about the human body growing informed her artistic expression of the body within her films. For instance, Ducournau outlines in the interview that "doctors have this very upfront yet distant way of talking about bodies and death." Alex Godfrey, emphasizes her parents influence can be seen within the film Raw in particular with the "unflinching, the closeups unforgiving, the atrocities un-glorified." Xavier argues that in recent years, we have seen a shift in the ways females are portrayed in horror films, this is often associated with female directorship. For instance, within the 2014 film, A Girl Walks Home Alone at Night, directed by Ana Lily Amirpour, a young Vampire is shown transcending societal boundaries. This same pattern can be seen in the 2017, XXX (film series), Marina de Van (2014) film, “In My Skin,  Jennifer Kent film The Babadook, and the Jen and Sylvia Soska,  2012 film, American Mary. As stated by Xavier, the more women in film, the more the narrative and portrayal of women within film shifts.

As specified by Xavier, this shift in the portrayal of women in film is no longer being presented solely by female directors but also male directors. During the 21st Century, there have been countless films directed by males that have also pushed against gender norms. For instance, Xavier illustrates, in Guillermo del Toro film Crimson Peak, the female heroin “(re)writes her own story.” This same pattern is also seen in the film Under the Shadow, directed by Babak Anvari. Despite this Julia Ducournau's, and other directors have also been criticized for their betrayal of women in film. According to the scholar Isabella Maher, Ducournau among other directors, has been criticized for her films reinforcing “sexist ideas of young women as narcissistic, spiteful and competitive and the oversexualizing of women within her films.

Per Xavier, Female directors that fall under this “postfeminist horror cinema” like Julia Ducournau, often find that their gender outshines their work. During interviews with journalists, their gender appears to be the main topic of conversation rather than the substance of their work. Directors like Ducournau want to be thought of as directors, not female directors and their work to be treated accordingly. Thus, although a lot of work has been done to progress the horror industry towards gender parity, there is still a lot more work that needs to be done to achieve equality.