That length may well be an intended bulwark against prurience: anyone going for salacious reasons will have to pay-with their time-for the privilege, and possibly exhaust that impulse along the way.
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And he expanded the format to an epic: his Blue demands viewers’ attention for a full 179 minutes of measured, deliberative observations of a young woman’s adolescence, erotic awakening, and maturation. Kechiche and his screenwriters put flesh on the bones of author Julie Maroh’s lovers. Blue’s English-language title comes from the French comic book on which its story is based, Le bleu est une couleur chaude. On-screen, Blue Is the Warmest Color actually plays as a classic European art film, heavily influenced by the new realism of a post- Amélie French cinema yet concerned with the oldest subject around: young love and coming-of-age. release, even as American audiences began to line up around the block for the chance to make up their own minds. These disclosures fractured the initial red-carpet alliance and threatened to cast a shadow over the film on the eve of its U.S. Meanwhile, complaints by the actresses and some crew members over directorial demands during production began to surface as well. Critiques of the film slammed the authenticity of the lesbian sex, as assessed by some important critics and lesbian commentators, including the author of its source, a graphic novel. The three shared the stage, the red carpet, the media blitz.Īlmost immediately, however, a storm of another sort erupted over two aspects of the film: the duration and shooting style of the sex scenes, on the one hand, and the behind-the-scenes dynamics on the set, on the other.
Astonishingly, in an unprecedented nod to collaboration at the resolutely auteur-focused event, the jury specified that the prize was to be shared between the director and his two stars, Léa Seydoux and Adèle Exarchopoulos, without whose intense participation and improvisation the film would not have had its remarkable power and passion. Blue won the Cannes Film Festival’s highest award, the Palme d’Or, in May of 2013, taking the town by storm. That’s why it sticks with you.Abdellatif Kechiche’s Blue Is the Warmest Color arrived in a world seemingly beset by a peculiar amnesia, according to which no director had ever made an art film with sex scenes (certainly not lesbian ones) before, no audience had ever seen one, no critic had ever been tasked with reviewing one. Though she finds a fulfilling career as a teacher, Adèle never loses the stinging memory of her first amour. Exarchopoulos, 19, is a ball of fire in a breakthrough performance of startling power. Nonetheless, she achieves a stabbing pathos as Emma painfully parts with Adèle. You have something to protect and tape it under. Seydoux, 28, claimed the nude scenes made her feel like a prostitute but denies the sex was real (“We had fake pussies on. Exarchopoulos and Seydoux, who deservedly shared the acting prize at Cannes, give performances of unparalleled intimacy. The politics of the film, loosely adapted from Julie Maroh’s 2010 graphic novel, can be read on the expressive faces of these two unlikely lovers. Director and co-writer Abdellatif Kechiche ( The Secret of the Grain) follows Adèle and Emma through a decade of roller-coaster emotions that are shaped and broken by sex, love, betrayal and an unforgiving class system. In detailing the relationship between blue-collar Adèle (Adèle Exarchopoulos), 15, and Emma (Léa Seydoux), an older, sophisticated art student, Blue Is the Warmest Color sweeps you up on waves of humor, heartbreak and ravishing romance. And not just for the explicit girl-on-girl action that takes up only a small percentage of its running time.
This ardent and affecting French love story, now unfairly categorized as “that three-hour lesbian movie,” hits wide release after taking home the top prize at the Cannes Film Festival.