First Kechiche throws the viewer into the world of Adèle (Adèle Exarchopolous), a wide-eyed high-school beauty who should, by the standards of her classmates, be wowing the boys, but instead almost breaks the heart of the one fellow she experimentally dates. Feeling no spark with him, or any other guys, she fixates on a blue-haired older girl she sees on the streets of her provincial French town. And once Adèle really finds Emma (Léa Seydoux), in a lesbian bar, it's not long before the student and the soon-to-be artiste begin having intense, soul-searching conversations on a soon-to-be-iconic (for Adele) park bench.
The release history of Abdellatif Kechiche’s Blue Is the Warmest Color has been a miniseries-length drama of its own, culminating most recently in the director’s implied threat to sue his lead. Blue Is the Warmest Colour (2013). Blue is the warmest colour. To celebrate National Mother's Day on Aug 12, executive pastry chef Pablo Gicquel has designed a 'My Heart Belongs To You' cake featuring blueberries, vanilla ganache. Blue Is the Warmest Colour (2013). Parents need to know that Blue Is the Warmest Color is a French drama with English subtitles that chronicles a high school girl as she matures emotionally and sexually over about 10 years. It has very explicit sex with full nudity and graphic depictions of sex acts, mostly between two women, but one with a man also briefly shows an erect penis.
Blue Is The Warmest Colour Cast
Soon after that they're discovering each other's keys to sensual ecstasy, in the movie's already much-talked-about sex scenes. Kechiche has a sense of rapture that extends to all the human senses; Adèle and Emma, in the first throes of romance, eat as much, and as ravenously, as they make love, and there's particular attention given to Emma teaching Adèle how to appreciate oysters. (There are echoes here, oddly enough, of Claude Chabrol's little-seen 1990 adaptation of Henry Miller's 'Quiet Days In Clichy,' starring Andrew McCarthy.)
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The movie's transportive quality lies almost entirely with its lead actresses. They are committed to their roles to a degree that could be called exuberant. Neither gives off the slightest hint of working to achieve or inhabit an emotional effect. As the two lovers go, inevitably, out of the state of white-hot attraction and voraciousness and into a domesticity that presents the typical, and typically ugly, problems that an acolyte/ingénue arrangement presents, Adèle seems to grow up before the viewer's eyes in a way that makes Emma's self-possessed confidence look kind of complacent.