Blue Is the Warmest Color
Blue Is the Warmest Colour
Reżyseria:
Abdel KechicheZdjęcia:
Sofian El FaniObsada:
Adèle Exarchopoulos, Léa Seydoux, Salim Kechiouche, Jeremie Laheurte, Catherine Salée, Aurélien Recoing, Benjamin Siksou, Alma Jodorowsky (więcej)Opisy(1)
Życie Adeli: Rozdział 1 i 2 zaczyna się, kiedy tytułowa bohaterka ma 15 lat i jest w liceum. Przeżywa pierwsze zauroczenie, pierwszy seks, miłosne rozczarowanie. Jedna rzecz nie ulega dla niej wątpliwości: dziewczyny chodzą z chłopakami. Jej życie zmienia się jednak na zawsze, gdy pewnego razu spotyka Emmę, młodą kobietę o niebieskich włosach. To właśnie dzięki niej Adela odkryje swoje pragnienia i kobietę w sobie. Na oczach widzów Adela dojrzewa, poszukuje swojej życiowej drogi, gubi ją i znowu odnajduje... (Gutek Film)
(więcej)Materiały wideo (3)
Recenzje (9)
Blue Is the Warmest Colour takes a complex approach to depicting several developmental phases in the life of a girl who is becoming a woman. Kechiche could have shown only cause, effect and consequence, but he is more interested in the process and the course of the transformation itself, as well as its duration. Length is one of the many tools that the director uses to break down the barrier between the movie 90 protagonist, Adele, and the viewer. ___ A good eighty percent of the dialogue (and thus of the whole film) is handled through close-ups of faces. The traditionally rendered dialogue scenes consistently reassure us that reality continues outside the frame of the picture. Conversely, we are given the impression of being enclosed in a small space that is more or less defined only by the actors’ bodies. Ignoring the surrounding environment intensifies our connection with the characters, whose intimate zone limits what we see and hear. The distancing of the camera from the character at the end of a dialogue scene then serves as a liberating means of stepping out of the inner universe of interpersonal relationships and into the outside world. Whether the characters’ communication, be it verbal or non-verbal (including sex), is conveyed using the shot/countershot technique or through panning, also plays a role. However random it may seem, the form is always under the director’s control, fully subordinated to the process of bringing the characters together and distancing them both physically and mentally. ___ In multiple senses, a line is crossed during the erotic scenes (love and sex, reality and pretence), each instance of which has its own justification (for example, the sharp contrast between a moment of extreme intimacy and the following scene of a family birthday party, which requires far more pretence). The explicitness of the erotic scenes raises legitimate suspicion of voyeurism on the part of a tyrannical director (whom both actresses have described as a genius, though they no longer want to work with him), while their unusual length is the most extreme expression of the film’s unwillingness to pretend anything in communicating with the viewer. It is no coincidence that Blue Is the Warmest Colour also addresses the limits of honesty of representation (whether in film or in other arts) in dialogue that never descends into café blather that would only serve to demonstrate the filmmaker’s intellectual prowess. References to films such as Pabst’s Pandora’s Box reasonably complement the main motifs of the narrative and concurrently help us to understand the characters outside of the relationship context. ___ I don’t know of many films that could go this deeply and with such physical urgency under the skin of the main character. In my case, the idea of “putting yourself in someone else’s shoes” was manifested with extraordinary intensity. After three hours, I was glad to start living my own life again, but my connection with Adele definitely did not end with the closing credits. 85%
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I’ll be honest, I was afraid of this. My subjective viewer experience was terrified of a three-hour long French lesbian art film, and I believed that not even the fact that it will probably be a very good three-hour long French lesbian art film would help. But the fears were unwarranted, the film gripped me from the beginning and didn’t let me go until the end. Fantastic performances, incredibly firm direction; a thrilling experience. I wouldn’t cut a single minute of it, every scene in Blue is the Warmest Colour makes sense.
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If this movie were about a teenage hetero couple, it’d be mundane and uninteresting. If it were about two gay boys, it’d be unwatchable for most viewers. But it’s about two lesbians and the Cannes jury, led by the king of Hollywood, awarded it the Golden Palm. Like Linklater’s three-hour- long Boyhood, the three-hour-long Blue is the Warmest Color slowly and not too dramatically talks about everyday life issues. But unlike Boyhood, it focuses on one particular stage in the main character’s life and goes so deep that the last part of her story moves the viewer to tears. Because we all know how that hurts, no matter what our sexual orientation is. The sex scenes are very open, but not self-serving. On the contrary, they are very important for the physical and emotional absorption of the story, which is its alpha and omega. The central duo of young actresses is incredible in every word, feeling and look.
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The problem isn’t in its (justified) enormous length, but it should have taken a break between chapters 1 and 2. A good few years too, to let Adele grow up, because it seems quite out of place when, in the second phase, the scarcely twenty-year-old girl plays a middle aged woman and all that was different from her teenage phase were the glasses. Another problem are the explicit sex scenes; how they were performed didn’t fit with the mood of the movie. More than anything else, it seems like Kechiche wanted to quench his thirst for slapping young meat on set. Paradoxically, the best bed scene was the dialog after the garden party. And not least is the problematic closing twenty minutes when it gradually fizzles out in a way quite unfair to the qualities of the rest of the movie. These difficulties still don’t outweigh the fact that there are still entire passages (enough to make a long feature movie) when the story of Adele and Emma’s relationship is unrivalled in authenticity, drawing the viewer through all of the good and bad emotions that are integral to any relationship. P.S.: If you are racking your brains about the role of the diary that there so much secret and important talk about, but then nothing (not even the MacGuffin), so I recommend finding out what work this is based on and what the narrative style the original is.
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From the first more intimate dialogue, physically intense spectacle, three hours in Adele's skin is surprisingly little. Or at least it would be, if the script didn't sometimes play a slightly repetitive melody. The hotly debated and open love scenes could really use some editing. Not that the first liberating one didn't have its place in the film, but the others no longer offer any surprises and, in one case, even slow things down. It's a pity, especially since the situations are so believable and inspired by life, when a person has a smile from ear to ear under all circumstances, because no matter what happens, they are simply happy. On the other hand, I won't get over the moments when you have a heavy feeling in your stomach together with the main protagonist because nothing is okay for a long time. Abdellatif Kechiche is obviously a peculiar patron, but for allowing me to live Adele's life, I must thank him without hesitation. It's even more disappointing that she grinds to a halt at the very end and in a crucial moment appears almost helpless. And I don't want to remember the sincere, vibrant Adele as helpless.
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