Daily Archives: September 16, 2020
A new Netflix movie is tearing through the Internet, igniting accusations of glorifying child porn, accusing Netflix employees of pedophilia, and triggering some to even cancel their subscriptions. Even if you’ve never watched Cuties you have probably heard something about it through the controversy that has inflamed innumerable conversations and condemnation. Cuties is a French drama that follows a young 11-year-old Amy (Falthia Toussouf) as she embarks on a new school. Her religious Muslim family has set her up for one way of life, but the popular girls at her school look so much more free, fun, and wild. The “Cuties” dance team dreams of stardom, envies the older teen dance team, and emulates salacious dance moves from videos. It’s easy to see why the movie has generated its controversy and it’s understandable why many people would ever refuse to watch it based on subject matter alone. No matter the artistic merit, watching kids behaving this way, and the natural discomfort it produces, can be too much to endure. However, for those willing to give Cuties a chance, I do think it has some artistic merit as it tells, what is essentially, a familiar story of a youth going down a wayward path of temptation and rebellion.
There are three standout moments to me in Cuties that exemplify what writer/director Maïmouna Doucouré was going for as well as the commentary attached to the controversy. I’ll be going into spoilers to discuss these scenes and why I think it adds up to a whole that has more thoughtful intentions than exploiting children for cheap buzz and leering perversion.
1) Early on, like around the ten-minute mark, Amy is dancing and hides under her mother’s bed to not get in trouble. Her mother walks around with the Great Aunt and she overhears their conversation and learns some upsetting news. Her father, who is away and yet to move back with the family, will be marrying a second wife and bringing her home. The mother is trying to put on a brave face and play her part, calling relatives to dutifully inform them about the development, but she is clearly devastated and wracked with emotion. She feels replaced and inadequate and harmed by the man she loves, and Amy registers the pain and degradation her mother is going through on a deeply personal level, and this is what serves as motivation for her later actions. When she’s making new friends and wearing crop tops and pushing her boundaries, it’s not just a young Muslim girl who wants to escape the conservative trappings of her culture; it’s a young girl who is looking to rebel and stick it to her father. Her sense of a woman’s place in this family is to be subservient to the man and his authority, and she’s angry with him, angry at causing her mother pain, angry at viewing her as a collectible, and angry at what she views is a culture that restricts her to a life she does not want for herself but worries may not have a choice. Again, this isn’t a judgment on all Muslim families but merely the relationships within this one. This overheard phone call is such an immediately powerful scene with such an emotional wallop that I was tearing up. Amy’s motivation is more complex than simply wanting to dress provocatively. She’s rejecting a fate that could as easily befall her, and in doing so, a viewpoint on women.
2) There is a moment where the girl gang is just hanging out in the woods and laughing. One girl, Coumba (Esther Gohourou), finds a deflated condom on the ground. Not thinking anything of it, she blows it up like a balloon and the other girls freak out. They declare that their friend is now tainted, gross, and possibly exposed to AIDS. Coumba, who was the loudest and most outspoken joker among the group, is frozen in embarrassment. She didn’t know what it really was because she’s simply a child. She had no real conception, and now that reminder and the embarrassment and the hysteria from her friends is making her feel so small and humiliated. She’s desperate for her friends to excuse this misstep, to be accepted by her peer circle once again, and she meekly defends her ignorance. A single tear rolls down her cheek and this scene was a fitting reminder for me that the filmmakers have never forgotten that these girls, no matter how they dress and how they act, are still very much children. They talk about sex and porn but through an uninformed understanding of the larger meaning and context let alone sense of anatomical accuracy. It’s because they’re still children! This moment was further confirmation for me that the filmmakers had not forgotten that their subjects were to be presented thoughtfully. These 11-year-olds aren’t to be sexualized, just like teenagers shouldn’t be either, no matter how eager these young people are to jump ahead in maturity and be seen as desirous and incendiary.
3) The last scene of the movie involves the father’s wedding, a moment that mother and daughter have been dreading. Amy has run away from her dance team’s big show and made her choice, choosing to return to her family and as a support for her mother. She reminds Amy that she does not have to attend the wedding but Amy is determined to be there, knowing fully what it means for her mother and the larger implications for her family. Amy must decide what to wear for the festivity and stares down the traditional dress her Great Aunt had brought. Amy looks at her skimpy dance outfit, a guaranteed attention-seeking statement if she were to wear it to her father’s wedding ceremony. Instead, she chooses a middle path and simply wears a comfortable sweatshirt and some blue jeans. She rejects the restrictions of her family’s conservative culture, she rejects the extremes of the dance troupe, and she starts to form her own sense of self. She sidles into a game of jump rope and the camera pans up, and as the camera moves so too does Amy, locked into the camera shot, rising above the world, and she’s smiling so broad that her face seems to glow with happiness, a relief and joy she hasn’t felt in some time. By the end of this tale, our heroine has rebelled, overstepped, learned something about herself, and now seems a little surer of who she wants to be as a young woman charting her life in France. For me, this conclusion reaffirms the intentions of the filmmakers and commentary that those feelings of discomfort were on purpose.
With that being said, there were of course scenes that made me feel deeply uncomfortable, and I would question anyone who didn’t feel the same. The Cuties’ final dance is shockingly adult. Children should not be behaving in this manner but, and I again I stress this, that is the point of the movie. The audience at the dance competition does not approve of the tween twerking; they boo, they make disgusted faces, and one mother attempts to cover her baby’s eyes. “THIS IS TOTALLY NOT A GOOD THING,” Doucouré’s film is vociferously pronouncing. When the girls are simply dancing, her camera favors wide angles or framing that doesn’t ogle their bodies. Often dances will be seen as a whole or with shoulders-and-up framing. Whenever the girls film their dances, the camera adopts the intended lascivious emulation they seek, lingering more on butts in shorts and their attempt at sensual gazes they’ve adopted from Instagram influencers and aspiring models. It’s icky but it’s only a sampling compared to the in-your-face final dance performance. What I’m trying to articulate is that the portrayal of these young girls letting loose is more tasteful than the detractors have given Cuties credit for. I’ve seen scuzzy teen-centric movies (notably by Larry Clark) where the camera was continuously fetishizing its teenage subjects as a default setting. Cuties isn’t that until it really wants to grind its cautionary message into your horrified face as you try to shield your eyes.
I had a student ask why did it have to be 11-year-olds, why couldn’t the same message have been told through slightly older figures, maybe 15 or 16-year-olds, and I didn’t have an answer. Maybe because we’ve already seen “teens go bad” movies with 16 years-olds (Kids), or even presumably 13-year-olds (Thirteen), and maybe Doucouré felt she needed to go younger to be different, or push the envelope, or to grab attention from an increasingly blasé public. Maybe the filmmaker felt we needed to go to an age before puberty so it’s less a “becoming a woman” transition and more a constant of being acknowledged as a child. I cannot say. At its core, Cuties doesn’t have to be a story that is told from a particular age because it’s a formula that we’re familiar with and it embodies universal themes of acceptance, isolation, rebellion, and belonging. It’s a better movie than the alarmist defenders of childhood virtue claim (funny how these same defenders seem so quiet in supporting a president who literally bragged about spying on tween girls while they changed clothes, but that’s another discussion). I would also advise these same critics to look up how many season Toddlers and Tiaras ran for on TV. This is not the best movie. If you’ve seen enough teen movies you’ve likely seen this story already, but Cuties is a perfectly fine movie with enough artistic merit and social commentary to potentially make it worth sitting through the obvious discomfort. I can completely understand if any person would choose to pass on this movie but it would be better if more people actually gave it a chance before sharpening those pitchforks.
Nate’s Grade: B