Netflix film 'Cuties' is darker than you thought

'Cuties'/Netflix

Plague. Recession. Riots. Looting. Fires. Murder Hornets. And now, as we round the third base toward the home stretch, 2020 gives us Cuties, a delightful French coming-of-age film by Maïmouna Doucouré that's half Stand by Me and half Coyote Ugly – if you were to combine both films into an anthropomorphic entity and then forcefully dip its toe into the perilous waters of pedophilia.

Cuties begins by showing us an 11-year-old Senegalese girl named Amy, whose fundamentalist Muslim family has recently moved to France. We learn that Amy's father has gone back to Senegal to bring home the woman who is to become his second wife. The mother's struggle is very clear to Amy, who begins right then and there to develop a hatred for her father. She starts looking for ways to rebel, and soon lands in the company of a group of ne'er-do-well girls, who fancy themselves dancers and have adopted the group name "Cuties". Their primary goal in life at the moment – and the thing that drives the film's narrative – is to participate in and win the big dance competition coming up soon. The ring-leader – a dark-haired bespectacled girl who resembles Alexandria Ocasio-Cortez to such an eerie extent that it can't have been on accident – lives in Amy's building, and the two form a kind of delicate friendship throughout the film.

Here is where the movie most resembles a female version of Stand by Me, and it's also where I began to understand that this is a remarkably beautiful film at times. It's well-shot, well-scored, and well-acted. In fact, Fathia Youssouf Abdillahi (the actress who portrays Amy) is quite possibly the most talented child actor I've ever seen.

I began to understand that this is a remarkably beautiful film at times.

The portrayal of this group of girls wending their way through the thick tangles of childhood and constantly grasping at what they perceive to be higher concepts of adulthood is somehow both charming and bothersome at the same time. Knowing virtually nothing of the real world of sexuality, they engage in a kind of whimsical speculation as to how sex works that almost comically mirrors the aforementioned Oscar-winning film (and a ton of other coming-of-age movies as well). Some of this is fine. There's a particularly funny-turns-emotional moment when one of the girls, upon finding a used condom lying around in the woods, blows it up like a balloon and begins playing around with it. The other girls – who at least know enough to know that one doesn't touch such things for fear of disease – immediately recoil from her, tell her that she's going to catch AIDS, and so embarrass and frighten her that she begins to cry. The scene is, again, beautifully shot, and I found myself sympathizing with the character as she feels an overwhelming moment of ostracization-through-misadventure. In the following scene, we are treated to a montage of the girls washing her mouth out with soap, and it breaks the tension.

All of that to say that not only does this movie have plenty of redeemable moments that are on the beat film-wise, but also that it will pull you in headlong whether you want it to or not – which is what a good film is supposed to do.

But, alas, there's more. And I'm not so much talking about the risqué dancing that's done throughout the film. Here's why: as if the plot structure of every coming-of-age story didn't lay it out clearly enough for us, kids strive to be adults. The results are often hilarious, sometimes disturbing, but it's their nature. Kids want to be more like adults. And in a world – such as the one depicted in this movie – where children either can't or won't seize on the example of adulthood provided by their own parents, a vacuum is created. And nothing fills the vacuum of responsible parenting better than social media.

For the girls, it is the well from which they draw their inspiration, acceptance and love. "Likes" are the currency of the realm, and if you don't think this is true in your own kids' world today, you need to wake up and smell the Zuckerberg.

Thus, it is no surprise that these young dancing girls are modeling their very existence after what they see in online videos, and regurgitating the same back at the soulless machine. That they would be twerking and gyrating in a manner that falsely suggests they do know a thing or two about sex is normal when you consider that they're dining daily on visual and musical junk food – art perhaps not entirely without merit, but certainly without taste. And if there's one thing about the movie that phone-it-in parents might do well to see, it is perhaps the juxtaposition of budding childhood and the laissez faire morality adhered to by the demigods of popular culture. In short: these girls are just trying to be like the only set of role models afforded to them.

Here's what should (in my opinion, anyway) not be okay, though.

Aside from the moments of dancing, this film is filled with the cinematography of sexuality. When you watch any film in which there is a femme fatale character (or in some cases several of them), the way in which they are shot by the camera is extremely suggestive of overt sexuality. To quote one of my favorite online film critics: "You may not have noticed, but your brain did." Tracking shots over women's bodies, particularly up their backside or across a heaving bosom all decorated in cleavage, are a stock in trade for many filmmakers (and the only one for some of them). It's so common in the making of movies that it's often lampooned as a trope.

I'm reticent to accuse the woman who made this film of directly catering to the desires of pedophiles – but... I can't completely dismiss the idea, either.

We'll save the discussion about whether or not this is offensive when actresses in their twenties and thirties do it for another time. What I would hope we could all agree on is that you don't – in good conscience – use those same tracking shots over the bodies of a group of 11-year-old girls, even to make a point. And you certainly don't do it over and over and over throughout the course of a movie. The unstated purpose of such shots in a regular film is to give the viewer a taste of the voyeur. You wouldn't be allowed, in polite society, to walk up to a woman and stare at her from inches away, scanning down her body as if you were about to fax her someplace. But with the movie camera, you get a little taste of that. Dopamine rushes to your brain, and you're instantly glad you shelled out the twenty bucks to see the movie.

And while it's theoretically possible that the unstated purpose on behalf of the filmmaker changes when the subject is a little girl, it can't be denied or even overlooked that, for a certain subset of the viewing population, the effect does not. I'm reticent to accuse the woman who made this film of directly catering to the desires of pedophiles – but after having sat through an hour and a half of shot after shot of this very overt technique, I can't completely dismiss the idea, either.

As Amy progresses down the path that her (barely) world-wise friends have chosen, she becomes far more steeped in it, because she has no sense of the unseen boundaries which exist even in a hedonistic postmodern society such as present-day France. She spirals out of control very quickly, trying to outdo her friends in overt displays of sexuality and even violent aggressiveness. If there is a redeeming quality to the message of the movie, it is that we are fairly explicitly told through what we see her go through that this is not the best life for her. That escaping from the oppressive Muslim traditions of her family is a thing she should seek, but that this is not the way to go about it. All throughout her journey, we are subjected to close-up images of her body (and the bodies of the other girls). At one point, Amy's mother and aunt seem to be performing a kind of exorcism on her to drive out the evil rebellious spirits they believe have taken over, and Amy vibrates in the middle of the room on her knees in a paroxysm of movement which is half-dance, half-apparent-demonic possession, and all sex. I don't mean to be graphic here, but she may as well have been doing a full-on sex scene, for all the heavy breathing and gyration and rank passion that's going on. As an adult – and particularly as a parent – it made me literally feel ill to watch.

It's a beautiful final scene... but it fails to pull the film from the mire into which it's dipped.

And, if you believe the film's director, that's what you're supposed to feel. She claims that the whole intent of the movie is to get people to feel uncomfortable as they realize the hyper-sexualized nature of children in our modern world, and how it's driven by the nanny state that is social media in our modern era. Part of me wants to applaud the effort – it certainly worked on me. I walked away from my television with a feeling of nausea and a renewal of the commitment in my head toward doing anything and everything I can to make sure that my own children never watch this film. The fact that the movie ends with Amy making a choice to reclaim her childhood – that she walks away both from the more oppressive elements of her Muslim upbringing (insofar as she will be able – we are never told) and from trying to become an adult too soon (insofar as she will be able – we are also never told) and embraces just being an 11-year-old girl – that fact doesn't change what's transpired. It's a beautiful final scene – it really is – but it fails to pull the film from the mire into which it's dipped.

In summary, I can't really put any sort of seal of approval on this film, despite part of me wanting to. I generally subscribe to the idea that showing us a thing is far better than telling us a thing – but there are limits, and I think Cuties crosses them. As much as I want to believe that the director's motives are pure as the driven snow, it's not lost upon me that – as I mentioned before – one of the main characters (with whom we are meant to be sympathetic multiple times throughout the film) is very obviously meant to be the prototypical girl-who-wants-to-be-AOC. This film is at war with its own supposed message – it seeks to convey the horrors of oversexualized youth while laying out on for open display an entire smorgasbord of pedophilic fantasies. The game simply isn't worth the candle.

Did Trump's '51st state' jab just cost Canada its independence?

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Did Canadians just vote in their doom?

On April 28, 2025, Canada held its federal election, and what began as a promising conservative revival ended in a Liberal Party regroup, fueled by an anti-Trump narrative. This outcome is troubling for Canada, as Glenn revealed when he exposed the globalist tendencies of the new Prime Minister, Mark Carney. On a recent episode of his podcast, Glenn hosted former UK Prime Minister Liz Truss, who provided insight into Carney’s history. She revealed that, as governor of the Bank of England, Carney contributed to the 2022 pension crisis through policies that triggered excessive money printing, leading to rampant inflation.

Carney’s election and the Liberal Party’s fourth consecutive victory spell trouble for a Canada already straining under globalist policies. Many believed Canadians were fed up with the progressive agenda when former Prime Minister Justin Trudeau resigned amid plummeting public approval. Pierre Poilievre, the Conservative Party leader, started 2025 with a 25-point lead over his Liberal rivals, fueling optimism about his inevitable victory.

So, what went wrong? How did Poilievre go from predicted Prime Minister to losing his own parliamentary seat? And what details of this election could cost Canada dearly?

A Costly Election

Mark Carney (left) and Pierre Poilievre (right)

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The election defied the expectations of many analysts who anticipated a Conservative win earlier this year.

For Americans unfamiliar with parliamentary systems, here’s a brief overview of Canada’s federal election process. Unlike U.S. presidential elections, Canadians do not directly vote for their Prime Minister. Instead, they vote for a political party. Each Canadian resides in a "riding," similar to a U.S. congressional district, and during the election, each riding elects a Member of Parliament (MP). The party that secures the majority of MPs forms the government and appoints its leader as Prime Minister.

At the time of writing, the Liberal Party has secured 169 of the 172 seats needed for a majority, all but ensuring their victory. In contrast, the Conservative Party holds 144 seats, indicating that the Liberal Party will win by a solid margin, which will make passing legislation easier. This outcome is a far cry from the landslide Conservative victory many had anticipated.

Poilievre's Downfall

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What caused Poilievre’s dramatic fall from front-runner to losing his parliamentary seat?

Despite his surge in popularity earlier this year, which coincided with enthusiasm surrounding Trump’s inauguration, many attribute the Conservative loss to Trump’s influence. Commentators argue that Trump’s repeated references to Canada as the "51st state" gave Liberals a rallying cry: Canadian sovereignty. The Liberal Party framed a vote for Poilievre as a vote to surrender Canada to U.S. influence, positioning Carney as the defender of national independence.

Others argue that Poilievre’s lackluster campaign was to blame. Critics suggest he should have embraced a Trump-style, Canada-first message, emphasizing a balanced relationship with the U.S. rather than distancing himself from Trump’s annexation remarks. By failing to counter the Liberal narrative effectively, Poilievre lost momentum and voter confidence.

This election marks a pivotal moment for Canada, with far-reaching implications for its sovereignty and economic stability. As Glenn has warned, Carney’s globalist leanings could align Canada more closely with international agendas, potentially at the expense of its national interests. Canadians now face the challenge of navigating this new political landscape under a leader with a controversial track record.

Top FIVE takeaways from Glenn's EXCLUSIVE interview with Trump

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As President Trump approaches his 100th day in office, Glenn Beck joined him to evaluate his administration’s progress with a gripping new interview. April 30th is President Trump's 100th day in office, and what an eventful few months it has been. To commemorate this milestone, Glenn Beck was invited to the White House for an exclusive interview with the President.

Their conversation covered critical topics, including the border crisis, DOGE updates, the revival of the U.S. energy sector, AI advancements, and more. Trump remains energized, acutely aware of the nation’s challenges, and determined to address them.

Here are the top five takeaways from Glenn Beck’s one-on-one with President Trump:

Border Security and Cartels

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Early in the interview, Glenn asked if Trump views Mexico as a failed narco-state. While Trump avoided the term, he acknowledged that cartels effectively control Mexico. He noted that while not all Mexican officials are corrupt, those who are honest fear severe repercussions for opposing the cartels.

Trump was unsurprised when Glenn cited evidence that cartels are using Pentagon-supplied weapons intended for the Mexican military. He is also aware of the fentanyl influx from China through Mexico and is committed to stopping the torrent of the dangerous narcotic. Trump revealed that he has offered military aid to Mexico to combat the cartels, but these offers have been repeatedly declined. While significant progress has been made in securing the border, Trump emphasized that more must be done.

American Energy Revival

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Trump’s tariffs are driving jobs back to America, with the AI sector showing immense growth potential. He explained that future AI systems require massive, costly complexes with significant electricity demands. China is outpacing the U.S. in building power plants to support AI development, threatening America’s technological leadership.

To counter this, Trump is cutting bureaucratic red tape, allowing AI companies to construct their own power plants, potentially including nuclear facilities, to meet the energy needs of AI server farms. Glenn was thrilled to learn these plants could also serve as utilities, supplying excess power to homes and businesses. Trump is determined to ensure America remains the global leader in AI and energy.

Liberation Day Shakeup

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Glenn drew a parallel between Trump’s “Liberation Day” tariffs and the historical post-World War II Liberation Day. Trump confirmed the analogy, explaining that his policy aims to dismantle an outdated global economic order established to rebuild Europe and Asia after the wars of the 20th century. While beneficial decades ago, this system now disadvantages the U.S. through job outsourcing, unfair trade deals, and disproportionate NATO contributions.

Trump stressed that America’s economic survival is at stake. Without swift action, the U.S. risks collapse, potentially dragging the West down with it. He views his presidency as a critical opportunity to reverse this decline.

Trouble in Europe

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When Glenn pressed Trump on his tariff strategy and negotiations with Europe, Trump delivered a powerful statement: “I don’t have to negotiate.” Despite America’s challenges, it remains the world’s leading economy with the wealthiest consumer base, making it an indispensable trading partner for Europe. Trump wants to make equitable deals and is willing to negotiate with European leaders out of respect and desire for shared prosperity, he knows that they are dependent on U.S. dollars to keep the lights on.

Trump makes an analogy, comparing America to a big store. If Europe wants to shop at the store, they are going to have to pay an honest price. Or go home empty-handed.

Need for Peace

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Trump emphasized the need to end America’s involvement in endless wars, which have cost countless lives and billions of dollars without a clear purpose. He highlighted the staggering losses in Ukraine, where thousands of soldiers die weekly. Trump is committed to ending the conflict but noted that Ukrainian President Zelenskyy has been a challenging partner, constantly demanding more U.S. support.

The ongoing wars in Europe and the Middle East are unsustainable, and America’s excessive involvement has prolonged these conflicts, leading to further casualties. Trump aims to extricate the U.S. from these entanglements.

PHOTOS: Inside Glenn's private White House tour

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In honor of Trump's 100th day in office, Glenn was invited to the White House for an exclusive interview with the President.

Naturally, Glenn's visit wasn't solely confined to the interview, and before long, Glenn and Trump were strolling through the majestic halls of the White House, trading interesting historical anecdotes while touring the iconic home. Glenn was blown away by the renovations that Trump and his team have made to the presidential residence and enthralled by the history that practically oozed out of the gleaming walls.

Want to join Glenn on this magical tour? Fortunately, Trump's gracious White House staff was kind enough to provide Glenn with photos of his journey through the historic residence so that he might share the experience with you.

So join Glenn for a stroll through 1600 Pennsylvania Avenue with the photo gallery below:

The Oval Office

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The Roosevelt Room

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The White House

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Trump branded a tyrant, but did Obama outdo him on deportations?

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MSNBC and CNN want you to think the president is a new Hitler launching another Holocaust. But the actual deportation numbers are nowhere near what they claim.

Former MSNBC host Chris Matthews, in an interview with CNN’s Jim Acosta, compared Trump’s immigration policies to Adolf Hitler’s Holocaust. He claimed that Hitler didn’t bother with German law — he just hauled people off to death camps in Poland and Hungary. Apparently, that’s what Trump is doing now by deporting MS-13 gang members to El Salvador.

Symone Sanders took it a step further. The MSNBC host suggested that deporting gang-affiliated noncitizens is simply the first step toward deporting black Americans. I’ll wait while you try to do that math.

The debate is about control — weaponizing the courts, twisting language, and using moral panic to silence dissent.

Media mouthpieces like Sanders and Matthews are just the latest examples of the left’s Pavlovian tribalism when it comes to Trump and immigration. Just say the word “Trump,” and people froth at the mouth before they even hear the sentence. While the media cries “Hitler,” the numbers say otherwise. And numbers don’t lie — the narrative does.

Numbers don’t lie

The real “deporter in chief” isn’t Trump. It was President Bill Clinton, who sent back 12.3 million people during his presidency — 11.4 million returns and nearly 900,000 formal removals. President George W. Bush, likewise, presided over 10.3 million deportations — 8.3 million returns and two million removals. Even President Barack Obama, the progressive darling, oversaw 5.5 million deportations, including more than three million formal removals.

So how does Donald Trump stack up? Between 2017 and 2021, Trump deported somewhere between 1.5 million and two million people — dramatically fewer than Obama, Bush, or Clinton. In his current term so far, Trump has deported between 100,000 and 138,000 people. Yes, that’s assertive for a first term — but it's still fewer than Biden was deporting toward the end of his presidency.

The numbers simply don’t support the hysteria.

Who's the “dictator” here? Trump is deporting fewer people, with more legal oversight, and still being compared to history’s most reviled tyrant. Apparently, sending MS-13 gang members — violent criminals — back to their country of origin is now equivalent to genocide.

It’s not about immigration

This debate stopped being about immigration a long time ago. It’s now about control — about weaponizing the courts, twisting language, and using moral panic to silence dissent. It’s about turning Donald Trump into the villain of every story, facts be damned.

If the numbers mattered, we’d be having a very different national conversation. We’d be asking why Bill Clinton deported six times as many people as Trump and never got labeled a fascist. We’d be questioning why Barack Obama’s record-setting removals didn’t spark cries of ethnic cleansing. And we’d be wondering why Trump, whose enforcement was relatively modest by comparison, triggered lawsuits, media hysteria, and endless Nazi analogies.

But facts don’t drive this narrative. The villain does. And in this script, Trump plays the villain — even when he does far less than the so-called heroes who came before him.

This article originally appeared on TheBlaze.com.