title taken from “Vent” by Teddyson John

Okay, but did you watch "Cuties"?

Several friends reached out to me over the past few days to ask my thoughts on the Netflix movie “Cuties".” I had not seen it, but I certainly saw all of the dialogue surrounding the provocative dancing of pubescent girls. "There’s no excuse for the sexualization of children” said U.S. Senator Tom Cotton and U.S. Representative Jim Banks said “this movie fodder for pedophiles.”

The talk extended to non-politicians and the outrage even sparked death threats aimed at Maïmouna Doucouré, the film’s director. Despite the outrage and it’s 89% Rotten Tomatoes rating, many involved in the conversation admitted that they did not actually watch the film.

Well, for those of you who saw the clip of young girls dancing to Yemi Alade’s “Bum Bum,” there’s actually more nuance to the film than that.

“Cuties” documents the journey of an 11-year-old girl struggling to understand female sexuality in Paris while dealing with her mother’s conservative Senegalese Muslim rearing. What commentators are missing is that the main character is actually dealing with a common problem for girls - what does it meant to be a woman?

Desperate to be taken seriously as her own person by her mother and “Auntie,” Aminata (or Amy) turns to social media for answers. The more provocative the women appear, the more likes and validation they receive. To Amy, this is how one becomes a real woman.

Real woman is a repeated phrase throughout this film. Amy’s mother learns that her husband, who is still in Senegal, has taken a second wife. Auntie tells her that she has to accept it and be a real woman. The implication is that real women do not allow others to see their pain or to give them an opportunity to criticize them. Amy’s rebellion against being hidden manifests in her need to post everything on social media, hoping to be noticed and liked.

Later, Auntie calls Amy to help her cook for her father’s wedding, again telling her that this is all training to become a real woman. Amy’s lashing out at this imposed gender conformity is what leads her to join a group of girls who are trying to win a dance competition. The camaraderie and freedom of the girls appeals to Amy. She realizes that the best way to fit in with them is to make this competition her priority as well. She learns a provocative routine to impress these girls and, ultimately, be accepted into their group.

Using the dress she is to wear to her father’s wedding as a symbol, Amy begins menstruation almost three-quarters in to the movie. The biological milestone solidifies her initiation into womanhood. When her mother finds out, she tells her “you’re a woman now.” Her mood is more sympathetic than congratulatory as she knows the plight of womanhood Amy will soon endure.

I will not spoil the rest of the film for you as I hope you actually watch it. What I will say is that the issue surrounding the film rests solely on the marketing. The movie has been out for months, but the poster was re-designed with a more controversial screen shot.

I will admit that I probably would have never watched this French coming-of-age film had it not been for the controversy. (Hmmm, I guess the marketing worked.)

I suppose I take issue with folks criticizing one scandalous aspect of a complete piece. As a veteran masquerader, I have cringed at the statements made about one salacious aspect of Carnival - the costumes. Foota Hype criticized Miss Jamaica for donning a revealing outfit and American media personality Joe Budden was dragged for stating that women participate simply to “act like hoes.”

This is only one part of the Carnival experience, which can last for months, and has roots in slavery and rebellion. Without putting it into context, it can seem like the gyrating hips of scantily clad women promotes sexual promiscuity; however, socaholics know that’s not all there is to Carnival.

Just like I would like people to take in Carnival culture as a whole, I implore you to watch the entire movie before judging “Cuties.”