Blue Is The Warmest Colour Nude
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Published: 23:48 GMT, 26 September 2013 | Updated: 13:59 GMT, 27 September 2013
Powerful performance: Adele Exarchopoulos excels in the love story that was shown to critical acclaim
Adele Exarchopoulos said she and her co-star in the year’s most controversial movie, Blue Is The Warmest Colour, performed explicit sex scenes over and over again because the director wanted ‘everything to be authentic and dangerous’.
And because he wouldn’t stop filming.
‘He didn’t want artifice,’ Adele told me of film-maker Abdellatif Kechiche. ‘He was searching for something, looking for something dangerous every day, on a film where we spent five months working seven days a week.’
In the picture — one of the best ever about first love — we meet Adele playing a 15-year-old student (also called Adele).
She knocks around with a lad at college but feels she’s missing something — until she bumps into Emma, an artist (played by Lea Seydoux) whose hair is ‘bleu’.
Later, Adele finds herself fantasising about Emma. After meeting again in a bar, they begin to fall in love.
‘It’s a very deep love story,’ the actress said. ‘It’s painful to be dealing with a passion that can destroy you. That’s what she felt, and because of the way we filmed it, I felt that too.’
The sheer honesty of the performances were such that the Cannes Film Festival jury awarded the Palme d’Or not just to the director, as protocol dictates, but to Exarchopoulos and Seydoux as well.
There’s a chance Adele could be nominated for a best actress Bafta — and possibly an Oscar (she’s been snapped up by Hollywood agent Hylda Queally, who represents Kate Winslet and Cate Blanchett).
There were mammoth queues at the film festivals in Telluride and Toronto, where it was shown to more critical acclaim. And it’s being screened here, at the BFI London Film Festival on October 14 and 17, before going on general release on November 15.
Adele said that Kechiche’s style was to work to a point where ‘everyone is exhausted’. She explained, as we sat in the Paris sunshine: ‘Abdul stands there and lets you do a scene with food, where my screen father serves me seven or eight portions of spaghetti bolognese, one after the other — although the worst was eating toxic kebabs at eight in the morning.
The honesty of the performances were such that the Cannes Film Festival jury awarded the Palme d¿Or not just to the director, but to Exarchopoulos and Seydoux too
‘Or, you’d be naked on a bed with Lea for hours while he and the cameramen just watched and filmed you. He’d keep you doing it, waiting for the stage of exhaustion. We had no hair or make-up artists. So not only were we exhausted, but we would look exhausted.
‘He really wants to see what’s in your soul — and maybe it’s easy to see your soul if you’re naked,’ she said, as Kechiche sat within earshot. She noticed my glance and laughed: ‘Don’t worry, he doesn’t understand English.’
The film runs for three hours, and every aspect of the romance and friendship between Adele and Emma, that stretches over seven years, is explored.
'Blue is the Warmest Color' trailer
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The love-making scenes are long, too — one runs for 11-12 minutes — but it’s powerful stuff, not gratuitous (although some women have objected to the graphic nature).
Adele said before filming started, Kechiche asked if she was comfortable with nudity.
‘I said yes, though it depends. He told me he was going to treat the sex scenes with good lighting, and they would be tasteful, and they’d run two minutes,’ she said.
‘He said I’d be in bed with this girl. Sex is part of life, so I agreed.
‘It was very different from what he said,’ she added. ‘He was working with two cameraman and I asked if they would take their clothes off, too; but they didn’t want to. And after a while, it didn’t matter.
‘At the beginning, Lea and I were prudish and we’d wear robes between scenes. But eventually, we didn’t care.
‘Lea and I became very close because she knew more about my body than my boyfriend,’ she said. ‘We became allies.
‘I don’t think the sex is anything to be ashamed of. There’s a lot of it, because he just kept filming and filming, but I’m more scared when I see people killing each other than I am of them having sex.
‘Also, I’d rather do one hour of sex than have to eat all that food again!’
When I asked if she would work with Kechiche again, she thought for a moment. ‘I honestly don’t know. I would probably regret it if I didn’t. But it was hard for a 19-year-old to work on this movie with such intensity.
‘I know I have worked with a genius. But every genius is a torturer. He doesn’t like it when I say that, but it’s the best compliment. Look at Francis Coppola when he made Apocalypse Now.’
Wild scenes at the Palace Theatre for the first preview of The Commitments, based on Roddy Doyle’s best-selling novel set in Dublin.
Killian Donnelly, left, plays stroppy lead singer Deco in the white soul group (‘Say it loud: I’m black and I’m proud!’ the white dudes cry) being assembled by wide boy Jimmy Rabbitte (a winning Denis Grindel).
Donnelly has a voice that commands your attention. Knock On Wood was the first giant number in the show and he and the superb ensemble knocked it out of the park.
It's one of the most exhilarating nights out in London ¿ and hats off to the producers for halving ticket prices during previews
Someone dismissed it as a jukebox show but I believe there’s more to it than that.
Director Jamie Lloyd and his team are refining things; they’ve already made changes to both the acts.
But it’s one of the most exhilarating nights out in London — and hats off to the producers for halving ticket prices during previews.
There are 19 main songs, and 19 featured numbers, and I loved the way Donnelly — with Sarah O’Connor, Stephanie McKeon and Jessica Cervi — handle There’s A Thin Line Between Love And Hate, an underlying message of the show.
Shailene Woodley stars in a rare gem
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From Wikipedia, the free encyclopedia
Abdellatif Kechiche
Brahim Chioua
Vincent Maraval
Albertine Lastera
Camille Toubkis
Sophie Brunet
Ghalia Lacroix
Jean-Marie Lengelle
Wild Bunch (France)
Cinéart (Belgium)
Vértigo Films (Spain)
23 May 2013 (Cannes)
9 October 2013 (France, Belgium)
25 October 2013 (Spain)
Blue Is the Warmest Colour (French: La Vie d'Adèle – Chapitres 1 & 2; French pronunciation: [la vi dadɛl ʃapitʁ œ̃n‿e dø]) is a 2013 romance film co-written, co-produced, and directed by Abdellatif Kechiche, and starring Léa Seydoux and Adèle Exarchopoulos. The film follows Adèle (Exarchopoulos), a French teenager who discovers desire and freedom as an aspiring female painter Emma (Seydoux) enters her life. The film charts their relationship from Adèle's high school years to her early adult life and career as a school teacher. The premise of Blue Is the Warmest Colour is based on the 2010 graphic novel of the same name by Jul Maroh.[6]
Production began in March 2012 and lasted six months. Approximately 800 hours of footage was shot, including extensive B-roll footage, with Kechiche ultimately trimming the final cut of the film down to 179 minutes.[7] The film generated controversy upon its premiere at the 2013 Cannes Film Festival and before its release.[8] Much of the controversy was about claims of poor working conditions on set by the crew and the lead actresses, and also the film's raw depiction of sexuality.[9][10][11]
At the 2013 Cannes Film Festival, the film unanimously won the Palme d'Or from the official jury and the FIPRESCI Prize. It is the first film to have the Palme d'Or awarded to both the director and the lead actresses, with Seydoux and Exarchopoulos joining Jane Campion (The Piano) as the only women to have won the award.[12][13] The film had its North American premiere at the 2013 Telluride Film Festival. The film received critical acclaim and was nominated for the Golden Globe Award for Best Foreign Language Film and the BAFTA Award for Best Film Not in the English Language.[14] Many critics declared it one of the best films of 2013.[15][16][17]
Adèle is an introverted 15-year-old high-school student.[18] While crossing the street one day, she passes by a woman with short blue hair and is instantly attracted. She later dates and sleeps with a boy from school named Thomas, but she is ultimately dissatisfied and breaks off their relationship. After having vivid fantasies about the woman she saw on the street and having one of her female friends kiss her, she becomes troubled about her sexual identity.
Her best friend, the openly gay Valentin, seems to understand her confusion and takes her to a gay dance bar. After some time, Adèle leaves and walks into a lesbian bar, where she experiences assertive advances from some of the women. The blue-haired woman is also there and intervenes, claiming Adèle is her cousin to those pursuing Adèle. The woman is Emma, a graduating art student. They become friends and begin to spend more time with each other. Adèle's friends suspect her of being a lesbian and ostracise her at school. Despite the backlash, she becomes close to Emma. Their bond increases and before long, the two share a kiss at a picnic. They later have sex and begin a passionate relationship. Emma's artsy family is very welcoming to the couple, but Adèle tells her conservative, working-class parents that Emma is just a tutor for philosophy class.
In the years that follow, the two women move in and live with each other. Adèle finishes school and joins the teaching staff at a local elementary school, while Emma tries to move forward with her painting career, frequently throwing house parties to socialise with her circle. At one of these, Adèle meets some of them: Lise, a pregnant woman and colleague, Joachim, "the biggest gallery owner in Lille", and Samir, an aspiring actor who feels out of place amongst the intellectuals, with whom she strikes up a friendship. Emma belittles Adèle's teaching career, encouraging her to find fulfilment in writing, while Adèle insists that she is happy the way she is. It gradually becomes increasingly apparent how little they have in common, and emotional complexities manifest in the relationship. Out of loneliness and confusion Adèle sleeps with Antoine, a male colleague.
When Emma becomes aware of the fling, she furiously confronts Adèle about it. Refusing Adèle's tearful apologies, Emma breaks up with her and throws her out. Time passes and although Adèle finds satisfaction in her job as a kindergarten teacher, she still cannot overcome her heartbreak. The two eventually meet again in a restaurant. Adèle is still deeply in love with Emma and despite the powerful connection that is clearly still there between them, Emma is now in a committed partnership with Lise, who now has a young daughter. Adèle is devastated, but holds it in. Emma admits that she does not feel sexually fulfilled but has accepted it as a part of her new phase in life. She reassures Adèle that their relationship was special, and she will always have "infinite tenderness" for her. The two part on amicable terms.
Later, Adèle goes to Emma's new art exhibition. Hanging on one wall is a nude painting that Emma once did of her during the sensual bloom of their life together. Though Emma acknowledges her, her attention is primarily on the gallery's other guests and Lise. Adèle congratulates Emma on the success of her art and leaves quietly after a brief conversation with Samir. He chases after her but heads in the wrong direction, while Adèle walks away into the distance.
Léa Seydoux as Emma
Adèle Exarchopoulos as Adèle
Salim Kechiouche as Samir
Aurélien Recoing as Adèle's father
Catherine Salée as Adèle's mother
Benjamin Siksou as Antoine
Mona Walravens [fr] as Lise
Alma Jodorowsky as Béatrice
Jérémie Laheurte as Thomas
Anne Loiret [fr] as Emma's mother
Benoît Pilot as Emma's stepfather
Sandor Funtek as Valentin
Fanny Maurin as Amélie
Maelys Cabezon as Laetitia
Stéphane Mercoyrol as Joachim
Aurelie Lemanceau as Sabine
Lesbian sexuality is one of the strongest themes of the film, as the narrative deals mainly with Adele's exploration of her identity in this context. However, the film's treatment of lesbian sexuality has been questioned by academics, due to its being directed from a straight, male perspective. In Sight & Sound, film scholar Sophie Mayer suggests that in Blue is the Warmest Colour, "Like homophobia, the lesbian here melts away. As with many male fantasies of lesbianism, the film centers on the erotic success and effective failures of relations between women".[19] The issue of perspective has also been addressed in a Film Comment review by Kristin M. Jones, who points out that "Emma's supposedly sophisticated friends make eager remarks about art and female sexuality that seem to mirror the director's problematic approach toward the representation of women".[20]
One recurring thematic element addressed by critics and audiences is the division of social class and the exploration of freedom and love between the two central characters, Adèle and Emma.[21][22] The reference to social class is juxtaposed between the two dinner table scenes in the film, with Adèle's conservative, working-class family engaging in discussion over comparatively banal subjects to Emma's more open-minded, middle-class family, who focus their discussion primarily on more existential matters: art, career, life and passion. Perhaps one of the most significant differences between Adèle's and Emma's families is that Emma's is aware of their lesbian relationship, while Adèle's conservative parents are under the impression the women are just friends.[23] Some critics have noted that the difference of social class is an ongoing theme in Kechiche's filmography: "As in Kechiche's earlier work, social class, and the divisions it creates, are a vital thread; he even changed the first name of the story's passionate protagonist from Clémentine to that of his actress, partly because it means "justice" in Arabic. His fascination and familiarity with the world of pedagogy, as shown here in Adèle's touching reverence for teaching, is another notable characteristic", was noted by a Film Comment critic.[24]
Kechiche explores how food can evoke varying levels of symbolism, for instance through the sexually suggestive food metaphors of Adèle's liking of the fat on ham and her learning to eat oysters from Emma. Additionally, he looks at how food can be seen as an indicator of social class.[25]
Director and screenwriter Abdellatif Kechiche developed the premise for Blue Is the Warmest Colour while directing his second feature film, Games of Love and Chance (2003). He met teachers "who felt very strongly about reading, painting, writing" and it inspired him to develop a script which charts the personal life and career of a female French teacher. However, the concept was only finalized a few years later when Kechiche chanced upon Maroh's graphic novel, and he saw how he could link his screenplay about a school teacher with Maroh's love story between two young women.[26] Although Maroh's story takes precedence in the adaptation, Adèle's character, named "Clémentine" in the book, differs from the original as explored by Charles Taylor in The Yale Review: "The novel includes scenes of the girls being discovered in bed and thrown out of the house and speeches like What's horrible is that people kill each other for oil and commit genocide, not that they give their love to someone."[27] In the film, Adèle's parents are seemingly oblivious to her love affair with Emma and politely greet her under the impression that she is Adèle's philosophy tutor. Further themes are explored in Maroh's novel, such as addiction to prescription pills. Regarding his intention to portray young people, Kechiche claimed: "I almost wish I was born now, because young people seem to be much more beautiful and brighter than my generation. I want to pay them tribute."[28]
In late 2011, a casting call was held in Paris to find the ideal actress for the role of Adèle. Casting director Sophie Blanvillain first spotted Adèle Exarchopoulos and then arranged for her to meet Abdellatif Kechiche. Exarchopoulos described how her auditions with Kechiche over the course of two months consisted of improvisation of scenarios, discussions, and also of them both sitting in a café, without talking, while he quietly observed her. It was later, a day before the New Year, that Kechiche decided to offer Exarchopoulos the leading role in the film; as he said in an interview, "I chose Adèle the minute I saw her. I had taken her for lunch at a brasserie. She ordered lemon tart and when I saw the way she ate it I thought, 'It's her!'"[26][29][30]
On the other hand, Léa Seydoux was cast for the role of Emma, ten months before principal photography began in March 2012. Kechiche felt that Seydoux "shared her character's beauty, voice, intelligence and freedom" and that she has "something of an Arabic soul". He added on saying, "What was decisive during our meeting was her take on society: She's very much tuned in to the world around her. She possesses a real social awareness, she has a real engagement with the world, very similar to my own. I was able to realise to how great an extent, as I spent a whole year with her between the time she was chosen for the role and the end of shooting." Speaking to IndieWire on the preparation for her role, Seydoux said "During those ten months (before shooting) I was already meeting with him (Kechiche) and being directed. We would spend hours talking about women and life; I also took painting and sculpting lessons, and read a lot about art and philosophy."[26][30]
The film, originally planned to be shot in two and a half months, was shot in five months, from March to August 2012 with a budget of €4
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