ABSTRACT
In the film Intouchables (Nakache/Toledano, 2011), a stereotypical banlieue youth of African origin encounters a paralyzed white aristocrat who lives in wealthy neighbourhood in Paris. I read the comedy that ensues as a theatre of complicated comparisons between various forms of disenabling and re-enabling mapping strategies. At the intersection between social class, racialization, cultural capital and physical disability, a map of Paris emerges that rethinks and critiques the notion of access and borders between and within cities, the North and the South.
