- The Washington Times - Friday, August 21, 2020

Netflix has apologized for “inappropriate artwork” accompanying an award-winning French film that critics say sexualizes young girls.

Netflix came under fire earlier this week after promoting “Cuties” ahead of its Sept. 9 release with an image of the movie’s main characters — 11-year-old girls — in provocative dances poses.

“We’re deeply sorry for the inappropriate artwork that we used for Mignonnes/Cuties,” Netflixdafabet手机版平台 Thursday. “It was not OK, nor was it representative of this French film which won an award at Sundance. We’ve now updated the pictures and description.”

But critics argued it wasn’t just the artwork that’s problematic, but the film itself.

Netflix must stop sexually exploiting children for the sake of entertainment, period,” the Parents Television Council’s president, Tim Winter, said in a statement Thursday. ” ‘Cuties’ is not the first time Netflix has blatantly promoted programming that sexualizes children, but this must be the last. It’s time for Netflixdafabet手机版平台 to account for the content it hosts, and the first step it must take is to remove ‘Cuties’ and other content that sexualizes children, such as ‘Baby,’ ‘Big Mouth,’ and ‘Sex Education’ or that glamorizes rape and sexual assault such as ‘365 Days.’ “

A demanding that Netflix remove the film had gathered more than 166,000 signatures as of Friday morning.

dafabet手机版平台“This movie/show is disgusting as it sexualizes an ELEVEN year old for the viewing pleasure of pedophiles and also negatively influences our children!” the petition’s creator stated. “There is no need for this kind of content in that age group, especially when sex trafficking and pedophilia are so rampant! There is no excuse, this is dangerous content!”

Director Maïmouna Doucouré recently explained in an interview the inspiration for “Cuties,” which is based in part on her own childhood experiences, Deadline .

“This isn’t a health & safety ad,” Ms. Doucouré told Cineuropa. “This is most of all an uncompromising portrait of an 11-year-old girl plunged in a world that imposes a series of dictates on her. It was very important not to judge these girls, but most of all to understand them, to listen to them, to give them a voice, to take into account the complexity of what they’re living through in society, and all of that in parallel with their childhood which is always there, their imaginary, their innocence.”

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