Abstract
This article examines questions of sexual citizenship in The Dress, directed by Tadeusz . It situates the film’s narrative alongside disability studies’ repositioning in a social model of the sexuality of people with disabilities. It argues that interpreting The Dress as a contribution to discourse about sexual inclusivity is not at odds with seeing the film as one in which the representation of human desires and frustrations assumes a universal relevance. Analysis of mise en scène and comparisons drawn from art history query the film’s use of aesthetics. Reference to Intimate Encounters 20 Years On underscores cultural specificities in turn between conservativism and progressivism.
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