Julia Ducournau’s ‘Alpha’ Signals a Slight Deviation From a Masterful Trajectory
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A mixed reception at the Cannes Festival hasn’t diminished hope that Julia Ducournau will continue to deliver compelling cinema, though her latest film, Alpha (2025), represents a step back from the brilliance of Titanium (2021) and Raw (2016). Despite its flaws, the film offers moments of genuine insight and reaffirms Ducournau as a filmmaker with a unique and powerful vision.
From “new Flesh” to Contagion: Ducournau’s Evolving Language
Ducournau first captivated audiences with Titanium, a film one observer described as a “true masterpiece.” The director demonstrated a complete command of her stylistic and narrative tools, delivering a shocking and unforgettable experience. Alpha continues to explore themes of bodily autonomy and change, but shifts its focus from individual metamorphosis to the collective anxiety surrounding a mysterious illness. the film centers on Alpha (Zara Amour), a young woman grappling with a mysterious, unnamed – but readily identifiable – deadly virus. the narrative unfolds as Alpha receives an unprofessional tattoo, sparking her mother’s (Golshifteh Farahani), a doctor, fears of infection via contaminated needles. The return of Alpha’s uncle, Amin (Tahar Rahim), who appears to be afflicted with the same illness, further complicates the situation and intensifies family tensions.
Body Horror and the Weight of Isolation
Ducournau’s signature body horror remains a central element in Alpha, though it manifests differently than in her previous films. While Titanium and Raw shocked with cannibalism and unconventional relationships, Alpha grounds its horror in the more relatable fear of contagion. The virus serves as a potent symbol of the alienation Alpha experiences, manifesting in isolation both at school and within her own home.
The film also explores the complexities of identity within a family of migrants. Alpha’s cultural disconnect from her mother, grandmother, and uncles is a key theme, with Ducournau incorporating elements of mysticism to enrich the narrative. However, this ambition proves to be a double-edged sword.
A Narrative Burdened by Ambition
According to one analysis, the attempt to weave together numerous ideas results in an “irregular” and sometimes “superficial” narrative. The introduction of the “red wind” and its associated healing practices feels disconnected, a forced attempt to merge cultural symbolism with the metaphor of contagion. while Ducournau’s research is evident, the integration of these elements lacks cohesion.
This overextension contrasts sharply with the focused intensity of titanium, where the body’s transformation served as a reflection of societal shifts.Alpha touches upon similar themes of biological and cultural distance, but its broader scope diminishes the impact. The film’s length and complex timeline further contribute to a sense of bloat,and the ultimate reveal lacks the emotional resonance of Ducournau’s previous work.
Emotional Resonance and the Power of Family
Despite its narrative shortcomings, Alpha succeeds in its emotional core. The film’s exploration of family, love, and empathy is arguably its strongest suit. This theme, present in Raw and Titanium, is given greater emphasis in Alpha, portraying families – both biological and chosen – finding strength and unity amidst upheaval.
However,even this strength is undermined by heavy-handed dialogue towards the film’s conclusion,unnecessarily stating the themes that were already evident through the characters’ actions.
Alpha does not signal a decline in Julia Ducournau’s filmmaking prowess. She remains a fascinating and imaginative director, capable of delivering powerful projects. While it doesn’t reach the heights of her previous works, Alpha still offers thought-provoking ideas and reaffirms the confidence that her cinema will continue to surprise and challenge audiences.
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