Observer by Siddhant Adlakha

Strange, frequently haunting, occasionally hilarious and ultimately masterful, Titane is a journey whose head-spinning complications are a vital part of its emotional impact.

The Irish Times by Tara Brady

Nothing is safe and nothing is sacred in Julia Ducournau’s delirious new world. Rev up and get ready to run over everything the hotrods in Fast & Furious hold dear.

The Playlist by Jessica Kiang

Titane is bold in its reference points, no-holds-barred in its approach to some of the hottest-button issues of the day, and brash – and often very funny – in its deliciously grisly and inventive image-making.

IndieWire by David Ehrlich

Whatever you’re willing to take from it, there’s no denying that Titane is the work of a demented visionary in full command of her wild mind; a shimmering aria of fire and metal that introduces itself as the psychopathic lovechild of David Cronenberg’s “Crash” and Shinya Tsukamoto’s “Tetsuo: The Iron Man” before shapeshifting into a modern fable about how badly people just need someone to take care of them and vice-versa.

Uproxx by Vince Mancini

I’m not entirely certain I understand what Titane is, but I’m convinced that all movies could stand to be a little more like Titane.

The Hollywood Reporter by Boyd van Hoeij

While Titane wants to shock and surprise — two things a lot of contemporary films seem to have forgotten how to do — it also wants to tell the strangely affecting story of two royally f***ed up human beings who, despite all the odds, and lack of shared DNA, share a father-son like bond.

IGN by Kristy Puchko

Co-writer/director Julia Ducournau delivers a superb sophomore effort, which surpasses her cannibal horror-comedy Raw in provocative content and twisted laughs. Newcomer Agathe Rousselle is an extraordinary find, hurling herself face-first into grisly violence, lusty dances, and nerve-rattling emotional terrain.

Little White Lies by Sam Bodrojan

Titane is a genuinely weird, sweet thing, even in a time where those descriptors get thrown around far too much. There has not been a more surprising motion picture in years.

Austin Chronicle by Jenny Nulf

Titane is a dance. Julia Ducournau’s follow-up to her engrossing debut Raw is a flashy, traumatic body horror explosion that is just as gnarly as her first film.

The Globe and Mail (Toronto) by Brad Wheeler

French director Julia Ducournau, however, delivers a mindblower that keeps you guessing for all of the film’s excellent 108 minutes. She shocks; she entertains; she wickedly defies expectations.

TheWrap by Ben Croll

Ducournau’s follow-up to “Raw” is more than comfortable in its genre trappings, offering grab bag nods to past masters and positively delighting in sex, violence and grisly prosthetics as it chants “Long live the new flesh” from the film world’s toniest perch, inviting all gathered to join along.

Slant Magazine by Pat Brown

Titane wildly expands on Julia Ducournau’s idiosyncratic interest in the collision of flesh-rending violence and familial reconfiguration.

Slashfilm by Jason Gorber

It’s a film that’s at its best when things matter and you’re empathizing even during moments of total butchery. It’s never easy to inject humanity into inhumane acts, yet Titane, like the metal, manages to do something remarkably strong in a compact form.

Screen Daily by Jonathan Romney

By the time we reach an apocalyptic payoff, Titane has skated on and off the rails several times, with insouciant abandon. You miss the combination of bravado and control that made Raw work so well, but the deranged cocktail of outrage, excess, conceptual ferocity and sheer silliness on display here will make you gasp – and occasionally flinch.

Variety by Peter Debruge

With Titane, audiences occasionally just have to give themselves over to the movie’s demented momentum, taking whatever perverse pleasure they can from Ducournau’s willingness to push the boundaries

The Telegraph by Robbie Collin

Titane is the kind of film that makes quibbles over plausibility seem foolish: you just have to sit back and enjoy being ridden over, or at least accept that’s what the exercise is about.

The Guardian by Peter Bradshaw

For its sheer silliness and towering pointlessness, Julia Ducournau’s gonzo body-horror shaggy-dog story deserves some points.