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I Saw “Cuties” So You Don’t Have To.

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Last night after collecting my notes on Baudrillard I sat down with my wife and watched “Cuties”. Reading through a French critique of hyper-reality and then watching a film that’s emblematic of those problems identified by post-modernists was itself a bit surreal. Bonus points to those of you that know a veritable who’s who of French intellectuals actually signed a petition in 1977 against age of consent laws themselves.

Let’s start with the obvious, the film itself is attempting to depict the sexual objectification of children and doing this means using the language of cinema to tell the story. Cinema as an artform accentuates and glamorizes scenes into a hyper-reality designed to titillate audiences, resulting in “Cuties” intentionally or unintentionally creating a very high production value child porn. Depicting the sexual objectification of children means you have banalized child porn and transformed it into yet another mass media product. There is honestly no good way to use a visual media to tell a story about child sexualization without generating child porn itself, making any attempt to do so absurd on its face. We know that there will absolutely be a subsect of the viewership that will find these scenes of underage girls twerking and having their pants pulled down very, very “stimulating”, and one of those people is almost certainly the man behind the production. French producer “Zangro”, also known as a Sylvain de Sangroniz, has something of a curious history that was memory-holed as soon as people noticed his Wikipedia entry listed him as a dual-citizen of Israel. Given the existence of widespread sex-trafficking and sexual blackmail by certain persons of Jewish descent connected to America’s Greatest Ally, this certainly paints a pretty scary picture when one considers that “Zangro” bragged about seeing 650 candidates for the lead role on his casting couch. We might have hit peak hyper-reality: A film criticizing hyper-sexualization of children may have just been a front for a child sex-trafficking operation the whole time.

I’m not gonna turn this into a performative outrage porn session either, suffice it to say there’s plenty of scenes showing extremely provocative angles of underage girls along with a few specific moments included for pure shock-value. What’s particularly jarring is that this type of culture has already become somewhat normalized in the general population already.

As for the plot of the film, it’s a self-insert by a Senegalese woman about her experiences as a Muslim immigrant to France. France is painted as a multicultural Hellhole, a Mos Eisley Cantina where the only blue-eyed white girl is a minor character with the fewest lines of dialogue. The film tries to draw some moral equivalence between child marriage in traditional Islam and exploitative hyper-sexualization of young girls in the modern social media landscape. Between the two poles of repressive Muslim culture and sexual objectification of children in modernity, the final resolution is to just become a deracinated, Strong, Independent Woman of the sort that grows up to direct movies for Jewish sex traffickers. Functioning as sort of an after-school special for the status quo of globalism, this film is essentially just an apologia for being another Neopeasant consumer barely mature enough to realize extremely blatant sexual exploitation is bad.

When the film tries for some ironic self-awareness by including a greasy looking white pedophile caricature who looks on appreciatively at a scantily clad 11 year old, it frames it in the familiar racial trope of the white male child-molester. Curiously this movie seems perfectly content to wallow in the anxieties and self-objectification of a young Muslim coming to the West but doesn’t actually approach a more timely subject like organized sex-trafficking by well-connected internationalist Jews. Why is that? Why produce a film engaged in this navel-gazing narcissism instead of addressing a very real systemic issue?

I think we all know the answer to that one.

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