Céline Sciamma and Abdellatif Kechiche both arrived at the 2019 Cannes Film Festival with new films, but the reception to “Portrait of a Lady on Fire” and “Mektoub, My Love: Intermezzo” could not have been more different. While Sciamma’s “Portrait” was hailed as a masterpiece and one of the festival’s best achievements, Kechiche’s “Mektoub” was derided as a new rock bottom for the Palme d’Or winner behind “Blue Is the Warmest Color.” Both films became calling cards for the highs and lows of a filmmaker’s gaze. Critics championed the female gaze of “Portrait,” while Kechiche’s male gaze became a point of controversy just as it did before on the first “Mektoub” film and “Blue.”
In a new interview with France’s So Film magazine, Sciamma defends Kechiche’s male gaze and calls out both film critics and moviegoers for creating a cinema in which the...
In a new interview with France’s So Film magazine, Sciamma defends Kechiche’s male gaze and calls out both film critics and moviegoers for creating a cinema in which the...
- 9/10/2019
- by Zack Sharf
- Indiewire
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