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Yet, to dismiss the film entirely based on this sequence is to ignore the "female gaze" that dominates the narrative elsewhere. Adèle’s eyes—her wandering, searching gaze—are the engine of the film. When she first sees Emma crossing the street, the film employs a "love at first sight" trope typically reserved for male protagonists in cinema. In this sense, Kechiche allows Adèle the agency of desire. He centers her pleasure and her curiosity, not just in the sexual acts, but in the intellectual and emotional dynamics of the relationship. The film presents a dialectic of the gaze: moments of profound female agency interspersed with objectification.