Beatrice Loayza

  • Dore O., Alaska, 1968, 16 mm color, sound, 18 minutes.
    film June 16, 2022

    Remain in Light

    THE IMAGES MOST ASSOCIATED with the German filmmaker and artist Dore O. are of a woman, face-up like Millais’s Ophelia, drifting phantasmally over ocean waters, her body a gauzy projection superimposed onto a blue backdrop of restless movement. The woman is twentysomething Dore herself in her second film, Alaska (1968), a supple succession of beachy still shots and double exposures whose femininity and softness feel deceptive. Staccato editing rhythms and a menacing drone agitate these ethereal visions. And is the woman fading, or coming into view? The images now carry an awful prescience in

  • Julia Ducournau, Titane, 2021, DCP, color, sound, 108 minutes. Alexia (Agathe Rousselle).
    film September 30, 2021

    Hot Wheels

    IF YOU’VE HEARD ANYTHING about Titane, it probably involves someone getting fucked by a car. Julia Ducournau’s Palme d’Or winner—a mishmash of grindhouse tropes doused in that transgression-conferring, liquid neon color palette du jour known as “bisexual lighting”—is an onslaught of sensationalist imagery and discordant textures: oil-slicked flesh gliding over strips of metal in the opening titles, a lock of hair snatched out of a nipple ring, a woman’s head resting on a man’s bare chest still oozing from a third-degree burn. Behold an incessant smashing of dichotomies—the hard and the soft,