Blue Is The Warmest Color

[max from fearless]

Adele Exarchopoulos' performance in this is INCREDIBLE. Daniel Day Lewis level of commitment to the role. She goes all the way and does not look back. Kechiche may have driven her nuts, but I've not seen anything like this for a long time. Reminded me of Sandrine Bonnaire in 'To Our Romance', except she just goes further and further. An amazing film.

[Drenk]

SPOILERS

I felt so tense during the break-up scene. But I cried after, when she's dancing, and you feel how lonely she is...After two hours with Adèle, being Adèle, it made me so sad I had to stop breathing or I would annoy everyone with how loud I am when I can't stop crying. I think a lot about the "I follow rivers" scene too. Once again: dancing and alone...

I didn't like Emma, I thought she wasn't a good person. Pretentious? A way to think about art which is ridiculous. The love story is a lust story here, and it's great. You feel and see the desire of Adèle. Some scenes between Adèle and Emma were as intense than the processing scene from The Master. When Emma leave Adèle at the bar where they talked for the first time, you feel the void. How Adèle needs Emma. I felt it, anyway...

What did you think of the ellipse? Adèle's parents were ghosts, quiet...I wasn't waiting a confrontation. I liked that they disappeared. How the life of the first part goes away...The movie is not about how difficult it is to be homosexual in a homophobic society, or how difficult it is to accept your homosexuality. Adèle accept it. Emma is her refuge, that's why she hides from her parents.

She becomes an adult through this movie. With her passion of education...

I didn't like the sex scene, by the way. It felt cold. And it was the first time that Adèle has sex with a woman! It seemed too easy for her. I don't hate the scene, I just don't want to see it again...

[max from fearless]

SPOILERS

I thought Emma was like most University students, she thought she was way smarter than she actually was, when most of her views were kind of simplistic and narrow minded. But I believed her and even recognised such arguments from my own early relationships and arrogant-early 20s-know-it-bullshit. But this is TOTALLY Adele's story and her film. I literally fell in love with her and at the same time felt I was her. These actresses really need to show Kechiche some love, yes, it sounds like he was a manipulative asshole (that's just how some director's roll) but jesus, these performances! Adele's? Not seen anything like it for ages. You see everything through her eyes. Like the scene when she sees Emma for the first time, crosses the road and wanders around was just incredible. The lingering close ups on her throughout, catching her every thought and feeling. The first few scenes where she meets Emma, every gesture, every look and glance she gave Emma, I felt and I believed. I was going mad in the cinema. She was so intense and committed throughout. I think her performance is one for the books!

The scene when they argue was also incredible. The way how Adele dealt with being out of her depth was really well done, she just sticks to what she knows, doesn't she? Men and playing an almost motherly/wife role, making sure everyone at the party is alright  and talking to the person she most felt comfortable with, class and culture wise.

I loved the break into the second part, but I didn't find it as interesting as the first part, which was all desire, and longing and having sex for the first time, even though the second part is probably the most important as the story goes, as we see her put herself back together. I liked the scenes about the parents, just illustrated the differences in class and culture, and perhaps the roots of why their relationship didn't work. I really liked Emma in the second part. She has her life in order, but there was vulnerability there, she still cared for Adele and accepted that Adele had followed her ambitions and was making something of herself.

I didn't like bits of the long sex scene, some of the angles sucked and were just too in your face. I also felt that if they were gonna go all out with the lesbian sex, why didn't they do the same with the hetero sex? And I agree it was way to easy for Adele, there was no fumbling, but at the same time I guess she was so hungry and mad for Emma. But some of the later sex scenes, some moments, really captured Adele's hunger and desire. And the scene of them kissing for like two minutes. I just couldn't believe it and at the same time was wondering has anyone explored romantic desire (not obsessive desire) like this? I don't know...

I loved the shots of Adele eating. I realised that you never see people eating with their mouths open in movies. She had this epic appetite for life, eating, sex, dancing, etc. Also loved the scene at the demonstration, you see Adele come out her shell for the first time and see that she's dynamic and so full of energy, even though she hides it when she's part of a larger group. The actress seems more like this, from the DP30 interview...

I did think the ending was slightly so-so. What did you think of it? I liked that it didn't build to a climax, and that she made a choice to leave and accepted that she didn't fit in, but it felt, (just like the ending of Cous Cous) that Kechiche didn't quite know what to do or how to end it. What did you think?

The scene when Adele's female school friend tells her she's cute. Jesus!!! Amazing. The first half of this movie is so incredible and broke me up in so many ways. But I cried the most today seeing "Short Term 12" which also has an INCREDIBLE female lead performance, this time by Brie Larson, but that's for another post.

By the way, The Master totally came to my mind in the scene where she goes back to the bench in the park and lays down. In The Master outtakes there is a similar scene where Freddie goes back to the bench to think/dream about Doris and when he was also happy!!!! Both incredible films, from incredible directors and actors! Man, I love the movies!!!

[Drenk]

SPOILERS

I'm so glad that you're as enthusiast than I am! I've never seen a movie like this one, even if I've seen and liked Kechiche first films. Once again, Adèle is incredible. I was her for three hours. It didn't think it was long, even if the second part isn't as good as the first one. I forgot my life. About Exarchopoulos, she doesn't blame Kechiche. You can watch this:

At one point, Kechiche says that he thought about a sequel, about the life of Adèle, and Adèle talks about playing Adèle a second time; then, Kechiche says: "I didn't say that I wouldn't change the actress." Adèle laughs. Then, Kechiche whispers to Adèle : "I was joking." and she says, sweetly : "I know." It was nice to see this moment between them.

Yes, Adèle is hungry. Young and hungry. Eating. Having sex. Her mouth is always open, by the way.

The ending is clearly not a ending. That's why it's called Chapter 1 and 2. What about chapter 2 and 3? But it ends her relationship with Emma. She goes away...Alone, yes. But Adèle is strong. But I love the ending of Couscous! It's such a sad ending...

About the bench : YES! YES! I miss the beach scene so much when I watch the Master. So when I saw this film, it was great to see some Freddie in Adèle...

I have nothing to add, we have a similar opinion. Which is great. I couldn't wait to share my love for this movie and Adèle.

[max from fearless]

Drenk - thanks for the press conference!

It's so good to see Kechiche and Adele together after all the negative press bullshit. Shame the audience didn't ask her more questions. Yes, I'm now officially an Adele groupie. But seriously, It would be amazing if they did further chapters ala Before Sunrise, Sunset, Midnight etc.

[MacGuffin]

'Blue Is the Warmest Color' Director Slams 'Arrogant, Spoiled' Star in Open Letter
Countering her criticisms of the production, Abdellatif Kechiche threatens legal action against Lea Seydoux.
Source: THR

PARIS – The battle of words over Blue Is the Warmest Color is heating up, with director Abdellatif Kechiche now fanning the flames of controversy in an open letter published on the website Rue89 on Wednesday.

In an extensive takedown of several critics, he targets the newspaper Le Monde and journalist Aureliano Tonet as well as his star, Lea Seydoux, whom he believes said "slanderous" things about him and the production in an effort to gain attention following her historic Palme d'Or win.

While he begins with attacking the negative stories about the production published in Le Monde, star Seydoux is hardest hit in the letter, with Kechiche calling her an "arrogant, spoiled child." He appears to threaten possible legal action for the actress' statements in a series of interviews in which she criticized his shooting methods and said she would never work with him again.

"Miss Seydoux, who after having repeatedly thanked me publicly and privately and having wept in my arms at Cannes for allowing her to take on this noble role ... has, against all odds and all personal coherence, radically changed her attitude toward me."

"Thus after having been celebrated and glorified thanks to the Palme d'Or won by Blue Is the Warmest Color, she started to drag me through the mud with lies and exaggerations," he said, speculating that it was an extended PR effort to secure her image as a "rebel" and keep herself on magazine covers and in newspapers.

He calls her actions a "perverse fraud and manipulation" and goes on to say that she "knew her words were slanderous." In a passage that appears to threaten future legal action, he writes: "I will come back. It is for her to explain in court."

Kechiche has faced much criticism over his shooting methods -- from Seydoux as well as from anonymous sources on the crew. To Kechiche, the anonymous accusations from the production sources that were first laid out in Tonet's article are what sparked the controversy that has continuously dogged the film since Cannes. In Tonet's article, crewmembers alleged that the hours were long and shooting conditions brutal. Kechiche believes that this article would have ruined his career had the film not won the Palme d'Or.
In interviews that appeared earlier this year, Seydoux agreed with the allegations, calling the production "horrible" and said that she would never work with Kechiche again, citing his need for several retakes and an instance in which he threw his monitor because he was not satisfied with a scene.

The controversy hasn't hurt the film at the French box office. It sold 261,000 tickets in its first week of release on 285 screens and is nearing 600,000 in its second, a notably good showing because of its nearly three-hour length. American audiences will have a first look at the film, rated NC-17, on Fri., Oct. 25, when it opens in limited release.

[jenkins]

looking forward to the movie

[modage]

looking forward to the movie

The first hour is really good. The rest of the hours, less so.

[Drenk]

SPOILERS

Hence the unforgettable image of Adèle in the sunshine, at a school gala, leading her pupils in a kind of shuffling conga. Dressed in bright ethnic costume, they are all smiles. But her smile is barely skin-deep; in the previous scene, we saw her in a blazing brawl with Emma—a conflagration that left Adèle stumbling along a nighttime street in feral moans of distress. Right now, a single closeup shows that, though encircled by young spirits, she wants to die.

This scene broke my heart. I mean, it really broke it. I had to stop breathing to stop the loud tears. I felt so fucking alone and desperate too. With her. And I thought that I would be alone, like her, forever.

The whole review : http://www.newyorker.com/arts/critics/cinema/2013/10/28/131028crci_cinema_lane?currentPage=1

[jenkins]

the new yorker article is so good, so sweet, and gives me word juices

for the movies alone i hope lesbians and slaves take over xixax's news. imo movies like this don't need limited openings. again, because of the movies themselves. when their releases spread i hope they reach to xixax

[jenkins]

the response isn't caused by the thing but by the person receiving the thing. i always remember this, and i appreciate how blue creates a portrait that allows for a diversity of responses. oh, what to say. i think he did such a great job that i can tell from the replies, that've been given here, something about the repliers. how they perceive people. the characters in blue are like people, yes, wonderfully so, and i'll talk about them like i do real people: i won't. i'm listening

my honest guess is i won't like 90% of the conversations about blue. i'll say i had high hopes and they were exceeded

[Drenk]

the characters in blue are like people, yes, wonderfully so, and i'll talk about them like i do real people: i won't. i'm listening

I want to listen too!

[jenkins]

i'm curious about avenues of conversations that will arise from xixax. there are avenues of conversation possible from blue. so much of what i cherish here

to provide my personal summary: adéle converts into cinema, cinema converts into adéle -- and there's a substantial amount of insight into being alive in a certain time in a certain place and as a certain person

alt summary: like polkablues said during an important and high regard discussion of the hellraiser remake, many of blue's philosophical and ontological traditions (french traditions -- mm, if america could have such traditions!) "relate the themes of the story to the culture of today"

[matt35mm]

I watched it last night, still need to process but a night of sleep made it grow in my mind, which is a good sign. I'll be seeing it again. I was a bit shocked when the movie ended, as I could've sworn we were only at the 2-hour mark. It's the shortest-feeling 3-hour movie I've ever experienced, I think.

I guess I'll be in the minority of preferring the second-half to the first-half. I think I built up the first-half in my mind too much, and I'm looking forward to re-evaluating it upon a second viewing. The first sex scene did take me out of the movie. I thought the length was fine, but some of the angles invited laughter. The movie also has a hugely voyeuristic quality that is interesting and uncomfortable at the same time. I expected more "emotional" filmmaking, but instead it has an almost brutally rigorous voyeurism. The camera will watch Adele eat/sleep/cry/dance for real. It almost felt like an experiment, like she was a rat in a maze. The filmmaking doesn't really do anything to put you in her mind, except for a handful of moments (when she fantasizes about Emma for the first time while masturbating). All the camera does is watch her.

I think this approach suited the second-half more, for me. Throughout the first half, I just craved to be more emotionally manipulated, frankly. There was something dry-feeling about it. I liked the dancing to "I Follow Rivers" so much, and also the music when they first glance at each other, because of how much I craved music. The observational style coupled with this swell of passion that the first-half is about left me wanting, whereas in the latter half, it felt like that style really forced you to watch the rawness of a break-up. The prodding nature of the filmmaking made it more brutal, in a way that worked for me.

And then it ended before I was ready for it to. I could have watched another two hours of this, easily.

Maybe I'll say more things after a second viewing.

[jenkins]

I guess I'll be in the minority of preferring the second-half to the first-half. I think I built up the first-half in my mind too much, and I'm looking forward to re-evaluating it upon a second viewing. The first sex scene did take me out of the movie. I thought the length was fine, but some of the angles invited laughter. The movie also has a hugely voyeuristic quality that is interesting and uncomfortable at the same time. I expected more "emotional" filmmaking, but instead it has an almost brutally rigorous voyeurism. The camera will watch Adele eat/sleep/cry/dance for real. It almost felt like an experiment, like she was a rat in a maze. The filmmaking doesn't really do anything to put you in her mind, except for a handful of moments (when she fantasizes about Emma for the first time while masturbating). All the camera does is watch her.

there's a minority/majority thing going on with 1st to 2nd half? not in that house

eat/sleep/cry/dance for real involves the senses. there are plenty of senses, it's true, and a thing to remember is those senses give her emotions. what kechiche doesn't do is substitute her emotions for filmmaking technique. he watches her feel, and i felt along with her. that was never a problem for me, even in the sex scenes because there were plenty of senses in those scenes too. like i said earlier, my focus isn't on seeing the sex. my focus is on seeing the people. and i like the passion and intimacy that was communicated through those scenes -- their passion, their intimacy

anytime you watch a person it's voyeurism? i'd have to hear more about voyeurism, i always thought it had to do with the viewer's pleasures being controlled by their personal wishes, something outside and selfish.