No filmmaker has ever loved anything as much as Abdellatif Kechiche loves butts.
Bringing up the rear of this year’s Cannes lineup in more ways than one, Kechiche’s “Mektoub, My Love: Intermezzo” — an oft-threatened but completely unsolicited sequel to his 2017 bomb, “Mektoub, My Love: Canto Uno” — devotes about 60% of its runtime to extreme close-ups of jiggling female derrieres. And while that horrifyingly unexaggerated statistic may sound like a bit of a red flag to begin with, it only gets worse when you consider that “Intermezzo” is the same length as “Lawrence of Arabia”.
Of course, none of this is much of a surprise. Not anymore. As shocking as it was when Kechiche celebrated his 2013 Palme d’Or win by pivoting to posteriors, “Canto Uno” made it irrevocably clear the filmmaker has no regrets for the wanton fetishization of nubile flesh that separated “Blue Is the Warmest Color” from his earlier,...
Bringing up the rear of this year’s Cannes lineup in more ways than one, Kechiche’s “Mektoub, My Love: Intermezzo” — an oft-threatened but completely unsolicited sequel to his 2017 bomb, “Mektoub, My Love: Canto Uno” — devotes about 60% of its runtime to extreme close-ups of jiggling female derrieres. And while that horrifyingly unexaggerated statistic may sound like a bit of a red flag to begin with, it only gets worse when you consider that “Intermezzo” is the same length as “Lawrence of Arabia”.
Of course, none of this is much of a surprise. Not anymore. As shocking as it was when Kechiche celebrated his 2013 Palme d’Or win by pivoting to posteriors, “Canto Uno” made it irrevocably clear the filmmaker has no regrets for the wanton fetishization of nubile flesh that separated “Blue Is the Warmest Color” from his earlier,...
- 5/23/2019
- by David Ehrlich
- Indiewire
A simple but somehow atypical shot opens Abdellatif Kechiche’s new film: a serene closeup of a young woman’s face, as seen through the camera lens of Amir, a budding photographer still finding his perspective. Her expression is ambiguously tranquil, her long hair lightly rustled by a humid breeze, all softly lit by a sinking afternoon sun. It’s exquisite, the shot as much as the face, and anyone who has seen Kechiche’s last film will wonder how long the director can hold it there. But then there’s movement, and the camera gently drops and twists to close in on a different area, lower, a little lower, and yep, there it is — her toned, unblemished derrière. Welcome to the world of “Mektoub, My Love: Intermezzo,” where, with apologies to Samuel Beckett, form is content and content is form: the female form, that is, and its lower half in particular.
- 5/23/2019
- by Guy Lodge
- Variety Film + TV
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