Mektoub, My Love: Canto Uno
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Mektoub, My Love: Canto Uno

Mektoub, My Love: Canto Uno if Abdellatif Kechiche raised with ‘Adele’s life’ more than one criticism for turning Mektoub, My Love: Canto Uno the sexual encounters of two women into a demonstration (more) of the existence of the ‘male gaze’ (the critic Manohla Dargis in The New York Times said that the filmmaker “seems oblivious or perhaps simply disinterested in the difficult questions about the representation of the female body that feminists have been committed to studying for decades” and accused him of “patriarchal anxiety” in his representation of the mysticism of the female orgasm), his new movie confirms theory. In that 2013, lacking full and complex LGTBI representations in the cinema (state in which we continue) and in a year in which France approved the marriage of people of the same sex, we embraced the adaptation of Julie Maroh’s graphic novel assuming the while there was something ‘voyeuristic’ and traditionalist in that look

All this previous history seems essential to understand the existence of ‘Mektoub, my love: Canto uno’, in which, stripped of the cover of the female narrator, Kechiche reveals the fullness of his sexualized and falsely apolitical gaze on the bodies of its young women (never men) protagonists. Not that this comes to be a crime, but it never hurts to be aware of it, starting with Kechiche himself, who has always denied being part of that dominant male gaze in film history. For him, as he said at the press conference at the Seville European Film Festival, this new film is “an escape from the vision of the world that they want to impose on us.” But who continues to impose on whom?