Raw: On desires of the flesh, French extremity, and female sexuality

When Raw premiered at Cannes in 2016, it quickly became known amongst audiences as the ‘French, cannibalistic horror’ that led some to leave screenings in search of the nearest bathroom to relieve their nausea. To allow Raw to be talked about only as a shocking feature, for it to be remembered solely for the physical reactions it provoked in viewers, however, would be to disservice it hugely. Julia Ducornau’s daring debut is far more than an exercise in body horror. Rather, it is a truly unique take on a genre that has been done hundreds of times before: the coming-of-age drama. The story of a young woman forging an identity for herself is not exactly a new concept, for the Romantic and Victorian novels of Jane Austen and the Brontë sisters were often centred around the same subject, but never has it been tackled in the way that it is by Ducornau. With Raw, Ducornau takes the moment in a teenage girl’s life in which she verges on womanhood and uses it to craft a truly horrifying piece, in which carnal desires are explored in the most unexpected of manners.

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