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The Exhaustion of Seduction: Abdellatif Kechiche Pushes the Limits in "Mektoub, My Love: Intermezzo"

For the few years I have known his cinema, Abdellatif Kechiche has had a formidable ability to provoke fiery conversations within the industry and the audience equally. His contentious relationship with actors, and actresses especially, has been a hot topic for quite some time and catalyzed by the success of his Palme d’Or-winning Blue Is the Warmest Color (2013). Less publicized, especially abroad, problems with his producers probably led his follow-up, Mektoub, My Love: Canto Uno (2017) to a different path, initially expected to premiere at Cannes two years ago but ending up in Venice. The whole situation yet reveals an aura of struggle and conflict that could explain the unique nature of Kechiche’s new film, Mektoub, My Love: Intermezzo.Since its premiere, I profoundly loathed Blue Is the Warmest Color for various reasons, ranging from its cliché social dichotomy and the lack of research and respect of the city

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