Focus World | Release Date: March 10, 2017 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
30
Mixed:
2
Negative:
1
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Critic Reviews
The film gained an unfortunate reputation as a gross-out cannibal shocker on the festival circuit, and while that categorization is not entirely, technically incorrect — this is a piece of body horror, and an intensely visceral one — it detracts from the striking imagery and layered symbolism of Ducournau’s uncommonly assured debut feature.
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The most delicious part of Raw is its rich metaphorical life. Rather than playing like a gross-out sideshow, the movie has viscera-streaked things to say about the terrors of young womanhood, sisterly initiation, French racism, the gruesome traditions of veterinary science, and the uneasy bond between women and gay men.
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It’s rare to see such confidence in a first feature, yet Ducournau seems to know where she’s going at all times, keeping the narrative lean and mean while utilizing an array of stylistic techniques – slow-motion, sequence shots and tons of on-screen prosthetics – that never let up until the witty, and inevitably grisly, final scene.
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Like all good horror films (though it's more of a psychological thriller with a teeming, festering wealth of body-horror preoccupations), this one takes its central theme — cannibalism — as a way into a variety of other matters, other indicators of a society and a psyche under extreme duress.
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IndieWireMar 11, 2017
Ducournau tears down the walls of a genre so often identified with male filmmakers. (Like the father of body horror, David Cronenberg.) Shrewdly using the art-horror format to upend the traditional teen Bildungsroman, “Raw” makes it impossible to look away — as much as you might want to.
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Time Out LondonMar 15, 2017
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