The World This Week’s panel discusses Netflix’s new show Emily in Paris as it is full of French clichés but has been recieved quite well by the audience that has found some light relief in it, instead of worrying about of Covid-19
Emily in Paris is everywhere: causing people to rage on social media, making us dream of booking tix to Paris again (someday!) and paused on TV screens, as people WhatsApp their friends to moan about how unrealistic Emily’s (Lily Collins’) stratospheric social media success is – who gets 200 new followers after posting a photo of baked goods? – and then swooning over how gorgeous Frenchie Lucas Bravo (Emily’s neighbour, Gabriel), is.
Critics – in the US, UK and France – have complained that it’s clichéd, ridiculous, lacks diversity and is deeply culturally offensive. However, it’s also totally addictive, even if people are hate-watching it, with a viewership that includes teens, their parents, and every Sex and the City fan who was excited about the premise of sex – and Pat Field styling – in another city.
For those who haven’t seen it, Emily in Paris centres around Chicagoan Emily, who gets sent to Paris to work for a top French marketing agency when her boss falls pregnant. Clueless about the language and culture, she makes a series of faux pas that sees her branded a plouc (a hick) and ringarde (basic). But Paris is soooo beautiful and Emily’s boss, Sylvie (Philippine Leroy-Beaulieu) and friend, Camille (Camille Razat), are soooo stylish, and the men are soooo dreamy…
One reason that Emily’s got everyone talking is that it touches on the big cultural divide between France and America. Who better to discuss the show then a Frenchwoman (CW founder Eleonore Dresch) and an American, kids’ editor, Jennifer Barton.
Continue reading “In conversation: A French and American take on Emily in Paris”
Maïmouna Doucouré’s prize-winning directorial debut is a smart, empathetic coming-of-age drama.
Early on in “Cuties,” Amy (Fathia Youssouf), an 11-year-old Senegalese immigrant living in Paris, hides under a bed and eavesdrops while her mother, Mariam (Maïmouna Gueye), makes a few difficult phone calls. Her husband has decided to marry a second wife, she tells her friends; yes, isn’t that wonderful news? Amy, from her partially obscured vantage, can’t see her mom’s tears, though she can hear the barely disguised anguish in her voice. At the same time, she has perhaps never seen Mariam more clearly, a woman whose long-suffering heart and tough exterior are finally on the verge of breaking. Continue reading “‘Cuties’ review: Despite Netflix bungling, it’s worth seeing”
We’re getting the first look at Emily in Paris, Darren Star’s upcoming romantic comedy series starring Lily Collins.
Video streaming giant Netflix has apologised after its promotional material for a French film sparked accusations that it was sexualising young girls.
The award-winning Cuties (Mignonnes in its French release) follows 11-year-old black girl Amy as she grows up in a working-class area of Paris, defies her family and becomes aware of her burgeoning sexuality.
The poster promoting the film in France shows four brightly dressed girls throwing confetti as they walk up a street.
However, in the United States and internationally Netflix chose an image showing the four young stars posing in tight costumes baring their legs and midriffs.
“We’re deeply sorry for the inappropriate artwork that we used for Mignonnes/Cuties. It was not OK, nor was it representative of this French film which won an award at Sundance,” Netflix said on Twitter late Thursday.
“We’ve now updated the pictures and description.” Continue reading “Netflix apologises for ‘sexualising’ young girls in French film promo”