Industry insiders note that Jacques Audiard’s Emilia Pérez (2024, a Spanish-language musical crime film about a cartel leader transitioning to a woman) pushed gender and genre boundaries. Clémence, who worked as an assistant on that film, reportedly told Les Inrockuptibles : “I learned from him how to break rules. But I will break different ones.”
Seeing Taxi Driver in 2024—wrapped into a program with Audiard—makes certain things louder. The film’s images of neon, dirt, and desperation feel less period-bound and more archetypal. Travis Bickle’s moral absolutism—his conviction that violence can purify—reads like the extreme reflection of the same impulse Audiard’s characters feel internally: the desire to be better, to restore dignity. But Scorsese shows the logic of that impulse when fed into a psychosis of righteous isolation: spectacle, escalation, and self-mythology. freeze 23 11 24 clemence audiard taxi driver xx better
: Clemence Audiard portrays an "independent, self-made woman" who is depicted as being "stuck up" toward the driver initially. The Freeze Mechanic The film’s images of neon, dirt, and desperation
On November 23, 2024, the better Taxi Driver will not be a remake. It will be the moment a young female director presses pause on the old one, turns to her cast, and says, “He thought the city was a sewer. We know it’s just a car. And we have the keys.” '70s-inflected touches. Expand map
: Designers like Marc Jacobs have historically sent looks down the catwalk that reference the film's gritty, '70s-inflected touches. Expand map