Abdellatif Kechiche‘s “Mektoub My Love”: A Continuing Enigma & The evolution of a Singular Vision
Abdellatif Kechiche’s “Mektoub My Love” series has become one of contemporary cinema’s most fascinating and divisive projects. What began as a seemingly straightforward, epic summer romance has morphed into something far more experimental, challenging, and, at times, bewildering. If you’ve followed the journey from “Canto Uno” to the recent Locarno screening of the third installment, you’re likely grappling with the same questions as critics and audiences worldwide: where is this going, and what does it all mean?
Let’s break down the evolution of this enterprising, frequently enough controversial, work.
from Romance to Radical Experimentation: A Series Overview
The initial film, “Mektoub My Love: Canto Uno” (2017), introduced us to Amin (Shaïn Boumedine). He’s a young man returning to his coastal hometown of Sète, France, after abandoning medical school to pursue screenwriting. the narrative unfolded as a lush,sensual exploration of young love and the complexities of friendship,centering on a love triangle involving Amin,his cousin Tony (Salim Kechiouche),and tony’s fiancée,Ophélie (Ophélie Bau).However, the 2019 follow-up, “Mektoub My Love: Intermezzo,” signaled a dramatic shift. This 212-minute film was a bold, often shocking, departure. It featured an extended, continuous three-hour nightclub sequence and a heightened focus on explicit sexuality, particularly concerning the female form.
This turn led many to question Kechiche’s intentions. Was he deliberately pushing boundaries? Was this a pivot towards arthouse erotica, reminiscent of filmmakers like Walerian Borowczyk? Or were audiences witnessing a director grappling with personal issues in real-time? The film sparked intense debate and left many aghast.
“Canto Due” & The Arrival of Hollywood Intrigue
The latest installment, “Mektoub My Love: Canto Due,” offers a slight reduction in runtime (a mere two and a quarter hours!) and a tempering of the explicit content – though it still appears in the finale. Yet, the core Kechiche hallmarks remain: characters navigating serious personal issues with a remarkably laid-back demeanor.
This time, the narrative introduces Jack (Andre Jacobs), a Hollywood producer, and his young, dissatisfied wife, Jessica (Jessica Pennington). Their arrival in Sète injects a new layer of absurdity into the already dreamlike atmosphere. Jack claims Jessica once auditioned for the role of Travis Bickle in Taxi Driver (famously played by Jodie Foster) – a demonstrably false statement that raises questions about Kechiche’s intent.
The couple’s demand for service at Tony’s family restaurant and the subsequent delivery of couscous to their villa set the stage for a chaotic and farcical climax. Amin shares his screenplay with Jack, who seemingly loves it, while Tony engages in increasingly risky flirtation with Jessica.
What Does It All Mean? The Future of “Mektoub My Love”
The final shot of Amin running leaves the audience pondering the series’ trajectory. Is Kechiche envisioning a perpetually evolving project, unfolding on an almost improvisational basis?
It’s a valid question. “Mektoub My Love” feels less like a conventional narrative and more like a sustained cinematic experiment. It’s a project that demands your patience, challenges your expectations, and forces you to confront your own interpretations.
Ultimately, Kechiche isn’t offering easy answers. He’s presenting a world – and a filmmaking process – that is messy, ambiguous, and profoundly human.
Key Takeaways:
Evolution,Not Revolution: The series demonstrates a clear evolution in Kechiche’s style,moving from grounded romance to radical experimentation.
Ambiguity is Intentional: Kechiche deliberately leaves questions unanswered, inviting viewers to engage with the work on a deeper level.
* A Director’s Vision: “Mektoub My Love” is a testament to Kechiche’s singular vision and his willingness to push the boundaries of cinematic storytelling
