The line between cinematic art and exploitation has rarely seemed finer and nervier, at least in recent memory, than in the French film "Innocence. As observers of the culture wars know well, Ms. Mann and Mr.
Sturges have occupied central positions in debates involving artistic license and child pornography. In the early 's, Ms.
Mann attained unwanted celebrity for her sensual and occasionally nude photographs of her three children. While many fine art critics and curators admired her work, others including a radio evangelist accused the photographer of exploitation.
Sturges has endured similar criticism throughout his storied career, though unlike Ms. Mann and despite the imprimatur of institutions like the Museum of Modern Art, his representation of the lithe and young female form has always seemed transparently exploitative and kitschy.
Hadzihalilovic's own take on the young female body is alternately beguiling and discomfiting, coy and brazen.
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