Blue Is The Warmest Color Sex
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Blue Is The Warmest Color Sex
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Updated
1:59 PM EDT, Thu October 31, 2013
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
'The Unbearable Lightness of Being' (1988) —
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Melinda Sue Gordon/The Weinstein Company
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
'Blue is the Warmest Color' (2013) —
Photos: Hollywood's steamiest sex scenes
Photos: Hollywood's steamiest sex scenes
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Editor’s Note: This story may contain spoilers about the film.
The film is about a teen girl involved in a passionate affair with an older woman
There are explicit love scenes throughout
The director is now feuding with the stars
American audiences are finally getting a chance to see what is being billed as one of the most sexually explicit films ever made (not counting pornography): “Blue Is the Warmest Color.”
It is a film so controversial, it even has its director and stars engaged in a public feud. The NC-17-rated French drama, about a teenage girl who becomes involved in a passionate sexual relationship with a slightly older woman, expands to 10 cities this weekend after initially opening in New York and Los Angeles.
Adele Exarchopoulos and Lea Seydoux star in the movie by French-Tunisian director Abdellatif Kechiche, which clocks in at almost three hours. Significant portions of those 179 minutes are devoted to lovemaking scenes between the women, including one uninterrupted sequence that lasts about six minutes.
“It was really important to show this – not just a ‘cute’ scene of sex but like the real sex,” Exarchopoulos told Variety at the Toronto Film Festival in early September.
Seydoux added, “The scenes are very explicit, but there is something that I don’t get, which is why it’s such a big deal here (in North America).”
The sex scenes are unflinching but apparently not without artifice. Seydoux confessed to one interviewer that she and her co-star were fitted with prosthetic private parts. “We had fake (genitalia),” she said.
In September, Kechiche demurred when CNN asked about the lengthy love scenes. “I don’t think these (sex) scenes last longer than other scenes in the film, be they scenes of meals, conversation, exchanges,” he said.
But he did acknowledge that compared with other films, the sex scenes in “Blue Is the Warmest Color” are indeed long. “I have a sort of narrative principle which differs from established rules of cinema,” he said.
Kechiche said that judging how long to let a scene play out “is something I feel (intuitively). The end result is a reflection of something I feel, the need to look, to listen, to come as close as possible to the emotions, the bodies. … It’s kind of an artistic license that I don’t exactly choose myself; it imposes itself on me.”
The director laughed when asked whether he had choreographed the love scenes in advance.
“You know, when you describe a love scene in a script, apart from writing ‘they make love,’ you can’t really give a (blow-by-blow) description. It would be ridiculous to have it all written down,” he said. “I’m not going to ask the actresses to follow a choreography that I might have imagined. I’m going to ask them simply to live that moment of carnal passion and to … help them to be together, to be ‘alone,’ to let go of the awareness of the camera.”
Many critics have expressed astonishment at the emotional power of the film. The New York Times’ A.O. Scott praised it as a “feverish, generous, exhausting love story. … Mr. Kechiche illuminates the suffering and ecstasy of an awakening consciousness.” His one-word review: “Glorious.”
But his own colleague at the Times, Manohla Dargis, represents the opposite view, describing the director as “self-indulgent.” Dargis wrote that Kechiche’s caressing camera, which pays loving attention to Exarchopoulos’ shapely behind, suggests “a director whose desire felt more at stake than that of his characters.” “The way it frames, with scrutinizing closeness, the female body” suggests “patriarchal anxieties about sex, female appetite and maternity,” she writes.
Kechiche bristled at the suggestion that his film reflects a typical “masculine regard” toward female sexuality. And he maintained that it was his right as an artist to portray the love between two women.
“There are a thousand possible ways of (depicting) these intimate relationships,” he said. “This film expresses my take as an artist – male or female, what does it matter – with my sensibility, whether it’s a masculine or feminine sensibility. … You can accuse me of being a voyeur or a pornographer, (of being) disengaged from reality, whatever, but that’s my artistic sensibility.”
Jurors at the Cannes Film Festival were sufficiently impressed in May to give it the Palme d’Or, the highest prize that can be awarded. In fact, they took the unusual step of awarding the prize jointly to Kechiche, Exarchopoulos and Seydoux for their artistic collaboration. Jury President S
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