Watch blue is the warmest color scene movie#

In effect, Kechiche philosophizes the lovers’ bodies in the same way that he physicalizes their conversation. The immediate continuity from public to private life, from intellectual and emotional contact to the most intimate physical contact, without the intermediate stages of seduction or proposition or the sexual teasing of anticipation or buildup of undressing is the film’s very subject. When Kechiche films Adèle and Emma making love for the first time, he does so with one of the most jolting cuts in the recent cinema-from the women sitting together on a park bench to the two of them naked together in bed, tangling erotically. Those who express this concern seem to be reacting to the mere fact of a man filming naked young women rather than to the particulars of the film. I’m astonished at the concern on the part of some critics that Kechiche films the actresses’ sex scenes luridly or leeringly. And the now-infamous sex scenes with Adèle and Emma have an athletic, non-sadistic violence that is entirely consistent with the filmmaker’s ideas: it’s impossible to understand a couple without knowing how their bodies imprint each other, and the nature of their mutual physical hunger and their physical coalescence. When Adèle sits at the dinner table with her parents as they watch television, their passive petrification in the image is largely formed by the game-show host’s voice. Whether discussions in the classroom, conversations in a park, or arguments in a schoolyard, the exchange of words comes off with the bodily force of an exchange of caresses, a playful wrestle, or a fistfight.

The scene in which the two women’s glances meet is directed as if their gaze were a bodily push-the camera is jolted no less than the women are-and Kechiche’s version of psychology is that of the idea made flesh.

Watch blue is the warmest color scene movie#

It’s a question that Kechiche poses all the more paradoxically inasmuch as the dominant aspect of the movie is physical. Thus their romance begins and with it the movie’s great question: What does it mean to be gay without participating in gay culture? Or, rather, is there such a thing as gay culture that differs from homosexuality itself? Does the physical and psychological fact of homosexuality entail a distinctive place in society? Whatever your final verdict on the controversial sex scene, Blue Is the Warmest Color is without doubt an outstanding film as are the performances from Exarchopoulos and Séydoux.Soon enough, Emma shows up and protects Adèle (claiming that they’re cousins). As their relationship matures, so does Adèle, and she slowly begins to outgrow her sexual and philosophical mentor. The film beautifully and realistically portrays Adele’s evolution from a teenage high-school girl to a grown, confident woman. Whatever you make of this in hindsight, the only way to know is to watch this powerfully acted drama about the titular Adèle (Adèle Exarchopoulos), and her infatuation with Emma, a free-spirited girl with blue hair, played by Léa Seydoux.

On the other hand, Julie Maroh, who wrote the source material that inspired the script, denounced Franco-Tunisian filmmaker Abdellatif Kechiche for directing with his d*ck, if you don’t mind me saying so, while also being an on-set tyrant. On the one hand, the usual puritans came to the fore, criticizing the lengthy and graphic sex scenes. More simply called La Vie d’Adèle in its native language, this French coming-of-age movie was hugely successful when it came out and was probably one of the most talked-about films of the time.