Julia Ducournau’s previous credits include “Mange,” a television movie made for Canal plus, and “Junior,” a short. According to her bio, each of her films has been about physical transformation.

“Raw” will premiere at the 2016 Cannes Film Festival on May 14. The film’s French title is “Grave.”

W&H: Describe the film for us in your own words.

JD: “Raw” is a cross-over between teen comedy, drama, and horror — but in France the concept of cross-over things doesn’t exist, so I decided to call it a modern ancient tragedy. Tragedy, as the Greeks put it, implies all kind of catharsis — through laughter, tears, and fright.

I like movies that are roller coasters — onions that reveal themselves in the process. My movie is a constant metamorphosis talking about a metamorphosis. It’s also the story of a girl who finds out meat is not as bad as they say.

W&H: What drew you to this story?

JD: With “Raw,” I set myself the challenge of shifting the audience’s moral standards throughout the film. I wanted the audience to feel empathy for a character that is becoming a monster in their eyes. It sounds twisted, but I believe that the building of a moral identity comes with the acknowledgement of tendencies that we qualify as monstrous or evil. I often ask myself, for example, “What’s the difference between me and someone who kills?” I wanted to disturb the audience in that way. I found inspiration in the myth of Abel and Cain.

W&H: What do you want people to think about when they are leaving the theater?

JD: I think I want people to feel important and meaningful. In French, the title of my movie is “Grave.” Among many other reasons, I called it that because I realized that, when they confide in someone, people — friends, family, colleagues, me — tend to wrap up their story by saying, “Mais c’est pas grave ,” meaning, “But it doesn’t matter.”

They say this in order to alleviate the weight of their words. But it does matter. The humanity in each one of us matters, however flawed and sometimes inhuman. I want people to feel responsible for their humanity in the end, because freedom comes at the price of responsibility, I think. Boy, what a bummer!

W&H: What was the biggest challenge in making the film?

JD: The biggest challenge was definitely to impose the many-faceted aspects of my film. As I said before, the concept of cross-over movies, or mixing genres, isn’t so common in France and “Raw” doesn’t fit in one particular box.

W&H: How did you get your film funded? Share some insights into how you got the film made.

JD: My movie was funded in a pretty classic way in the end, even if we experienced cold sweats sometimes. Arte financed the development, and Canal+ the making of the movie. We found a co-production in Belgium (Frakas Productions) where I wanted to shoot because I fell in love with my main location there. We got money from French and Belgian CNC. And a lot of other partners helped us. I feel very blessed that all these people put their trust in me.

W&H: What does it mean for you to have your film play in Cannes?

JD: I was in Cannes’ Critics Week with my first short, “Junior,” five years ago. I promised myself back then that this wouldn’t be the epitome of my career — that there was no other option than to come back with a feature. And I was stupid enough to tell everyone. So yeah, I’m pretty relieved.

W&H: What’s the best and worst advice you’ve received?

JD: The best practical advice was given to me by director Bertrand Bonello when I was preparing the shooting. He said, “You can only grant yourself one luxury when you make a film. Whether it’s a famous actor/actress you absolutely want in your movie, an extravagant location, or expensive VFX. Choose it well. Because it’ll be your only one. The rest is constant struggling.” I chose being ready in time for Cannes selections in spite of a very tight schedule.

The worst advice I received, well, that’s a tough question to answer because I have a very selective mind and anything that doesn’t help goes right to the trash. But I’d say it was anyone advising me not to worry about getting into Cannes because they need a quota of women directors at the festival. That went right to the trash.

W&H: What advice do you have for other female directors?

JD: Identify yourself as a director in the media, not as a female director.

W&H: Name your favorite woman-directed film and why.

JD: I will only answer this question the day asking a “man director” to name his favorite “man-directed” movie doesn’t feel as awkward.

W&H: What are the filmmaking opportunities for women in your country? Have you seen recent improvements? What do you think needs to be done see some change?

JD: It’s a bit hard to say because I don’t have hard data under my eyes and I’m blessed enough to work with amazing producers. I feel it’s still harder to make a movie when you’re a woman. People tend to blame the selection committees because women are underrepresented in festivals. I think the problem is much wider, actually.

I do believe that producers not giving as much credit to women bearing a project as they would for men is still a reality, unfortunately. Not to mention if you’re a pregnant woman, God forbid!

What to do to see some changes ? Talking about it helps, and not being afraid of being outraged when it’s legitimate.