‘Cuties’ Director Acquired Demise Threats After Netflix Poster Backlash – Deadline

‘Cuties’ Director Received Death Threats After Netflix Poster Backlash – Deadline

The final two weeks has been a interval of contrasting feelings for Cuties filmmaker Maïmouna Doucouré. The movie, her debut function that was an award winner at Sundance earlier this yr, was launched in French cinemas on August 19 to constructive evaluations and powerful word-of-mouth from the general public who have been prepared to don their masks and enterprise out to the theater.

However then there was that Netflix poster.

Launched by the streamer similtaneously the French theatrical rollout in a bid to start selling the film forward of its U.S. debut on September 9, the paintings provoked a livid on-line backlash from individuals who criticized it for sexualizing kids. Netflix moved quickly to amend the advertising blunder, rapidly switching it out for brand new paintings extra akin to the French theatrical poster [you can see the two side-by-side below] and unreservedly apologizing for what it referred to as an “inappropriate” and “not representative” promotional effort.

Sadly, within the social media period, outrage spreads like wildfire on-line, and many individuals started to conflate the paintings with the movie, piling in to specific their distaste {that a} film that ‘sexualized children’ had been purchased by Netflix. Reactions diverse of their extremity however some commentators, together with amongst our readers, mentioned they wouldn’t use the SVOD anymore in retaliation. The reality of the film, as has been effectively lined by evaluations and viewers reactions since its buzzy Sundance and Berlinale screenings, is that it’s the nuanced, delicate story of a pre-teen lady who will get caught between two cultures – her conservative, spiritual upbringing and the pull of her liberal French college buddies who’re influenced by the web and social media. That actuality seems to have been misplaced within the storm, and the reality may be very few of the folks reacting so strongly could have really seen the movie.

‘Cuties’ French poster vs the unique Netflix poster (see eliminated)

For Doucouré, who spoke to Deadline from her native France the place she is supporting the theatrical roll out (which had been delayed 4 occasions from its authentic March date as a result of pandemic), this has been a troublesome and ugly expertise. She hadn’t seen the U.S. paintings earlier than it debuted on-line, so the following backlash was surprising and jarring for her.

“Things happened fairly quickly because, after the delays, I was completely concentrating on the film’s release in France. I discovered the poster as the same time as the American public,” she reveals. “My reaction? It was a strange experience. I hadn’t seen the poster until after I started getting all these reactions on social media, direct messages from people, attacks on me. I didn’t understand what was going on. That was when I went and saw what the poster looked like.”

It goes with out saying, however Doucouré does emphasize that she is after all towards the hypersexualization of youngsters, which she was accused of on-line. The torrent of abuse bought so severe she really acquired threats towards her life, the director tells Deadline in her first interview for the reason that incident.

“I received numerous attacks on my character from people who had not seen the film, who thought I was actually making a film that was apologetic about hypersexualiation of children,” she says. “I also received numerous death threats.”

On a extra constructive notice, high-profile figures did weigh in to help Doucouré, together with Tessa Thomspon, who tweeted twice:

The filmmaker says she was flooded with constructive messages after the preliminary negativity. Those that had seen the movie at Sundance and Berlin, she provides, “really supported her” and have helped to focus on the actual message of the movie. Doucouré says she has additionally acquired “extraordinary support” from the French authorities, and that the movie can be used as an academic instrument in her residence nation.

Concerning how she feels about that Netflix poster, the filmmaker says it’s clearly “not representative of the film and especially its message”, and whereas her voice is tinged with frustration, she is level-headed and emphasizes that Netflix did make a severe effort to apologize to her.

“We had several discussions back and forth after this happened. Netflix apologized publicly, and also personally to me,” she says. That apology, it seems, took the type of a direct name from Netflix co-CEO Ted Sarandos. Doucouré gained’t reveal what the pair mentioned, however she suggests she was comforted by their chat and isn’t bearing any grudges. “Streamers are a great way to get my stories out and share my messages with more people,” she provides positively.

As proof, the director mentions she is already writing one other venture for a streaming service, although she gained’t specify at this level whether or not that’s with Netflix or not, whereas she is concurrently engaged on a movie geared toward theatrical that can be set in North America and Africa.

A private story

Cuties was all the time presupposed to be a proactive film, and the venture is a really private one for its director.

“I really put my heart into this film. It’s actually my personal story as well as the story of many children who have to navigate between a liberal western culture and a conservative culture at home,” explains Doucouré, who’s of Senegalese descent.

The film follows Amy (a breakout flip for the sensible Fathia Youssouf, who beat 700 different ladies at auditions to safe the half), a younger Senegalese Muslim lady residing in France who desires of becoming a member of her buddies’ trendy dance troupe, a fantasy that clashes along with her household’s conventional values.



“I wrote this film after I spent a year and a half interviewing pre-adolescent girls, trying to understand their notion of what femininity was, and how social media was affecting this idea,” the director continues. “The main message of the film is that these young girls should have the time to be children, to enjoy their childhood, and have the time to choose who they want to be when they are adults. You have a choice, you can navigate between these cultures, and choose from the elements of both, to develop into your own self, despite what social media dictates in our society.”

Doucouré has combined emotions concerning the inflow of social media into the lives of younger folks.

“It affects all of us. There is a good side to it, it brings us information and beautiful images, and lets us meet more people, but there is a harmful side, where I find we have a new way of looking at love,” she feedback. “Love and self-esteem are constructed through likes and followers. What happens is young girls see images of women being objectified, and the more the woman becomes an object the more followers and likes she has – they see that as a role model and try to imitate these women, but they’re not old enough to know what they’re doing.”

Whereas the reception in France has been constructive during the last two weeks, is she involved that the adverse response to the poster may hurt the movie’s U.S. launch?

“I actually hope that those who haven’t seen it, will see it, and I can’t wait to see their reaction,” she asserts. “Hopefully they will understand that we’re actually on the same side of this battle. If we join forces, we could make a big change in this world that hypersexualizes children.”

Doucouré signed with CAA after her movie was chosen for Sundance, however does she have any reservations about working outdoors of her native nation after this expertise?

“On the contrary, I’m really excited to work in America. I’m a French director, but what’s important for me is that my stories have a universal message, whatever language they’re filmed in,” she says.

The director can be captivated with rising variety on display screen. As a black, feminine filmmaker, she acknowledges the shortage of previous alternatives for folks like her within the trade, and says that the cinema has the ability to make a constructive influence within the wider dialogue about racial equality.

“People have a need to see people who look like them on screen. Black Panther, for example, gave young boys and girls the realization they too could become a hero. If you can be a superhero in a movie, you can also be a hero in any other profession,” she says. “Film has this power. I’m sad that in today’s world we actually need to have a Black Lives Matter movement. We’ll continue to fight until we are able to say “cut”, as soon as now we have equality on this world in all areas of society.”

Filmy Online


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