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Cannes Winner ‘Blue Is the Warmest Color’ Review Roundup: Epic, Explosively Sexy Lesbian Romance

Cannes Winner 'Blue Is the Warmest Color' Review Roundup: Epic, Explosively Sexy Lesbian Romance

UPDATE: “Blue Is the Warmest Colorhas won the Palme d’Or.   

EARLIER: The latter half of Cannes has brought a fest favorite to the fore. With a bold three-hour running time, French director Abdellatif Kechiche’s “Blue Is the Warmest Color,” starring Lea Seydoux and relative newcomer Adele Exarchopoulous, is receiving raves for its daring, intimate portrayal of a teen lesbian romance. And one more thing: the film contains “the most explosively graphic lesbian sex scenes in recent memory.” 

A notable holdout is the New York Times’ mighty Manohla Dargis, who takes director Kechiche to task for the racy film “being far more about Mr. Kechiche’s desires than anything else.”

Review roundup below.


“I have infinite tenderness for you,” one woman tells
another in “Blue Is the Warmest Color,” and it’s a sentiment that also
describes director Abdellatif Kechiche’s attitude toward his characters in this
searingly intimate, daringly attenuated portrait of a French teenager and her
passionate relationship with another femme. Post-screening chatter will
inevitably swirl around not only the galvanizing performances of Adele Exarchopoulos
and Lea Seydoux, but also the fact that they spend much of this three-hour
emotional epic enacting the most explosively graphic lesbian sex scenes in
recent memory.

The Hollywood Reporter:

Blue Is the Warmest Color (La Vie d’Adele, Chapitres 1 et 2)
might be the title of Tunisian-born French director Abdellatif Kechiche’s
latest sprawling drama, but the emotions — and the sex, of which there is
beaucoup — definitely run red hot in this deeply moving portrait of a young
girl’s climb toward adulthood in the arms of another woman. Surely to raise
eyebrows with its show-stopping scenes of non-simulated female copulation, the
film is actually much more than that: It’s a passionate, poignantly handled
love story which, despite an unhinged 3-hour running time, is held together by phenomenal
turns from Lea Seydoux and newcomer Adele Exarchopoulos, in what is clearly a
breakout performance.


The unconventional length for a story of this nature makes
some parts more bearable than others. Most supporting characters, including
other potential love interests, parents and co-workers, suffer from a lack of
the same development allotted to the two leads. But in that same regard
Kechiche creates a fleshed out environment too big for one movie to contain.
Its structure certainly makes the possibility of a sequel worthy of


The film is acted with honesty and power by Léa Seydoux and
Adèle Exarchopoulos; the affair itself is a little idealised, and the film is
flawed by one rather histrionic scene, though not, I think, by its expansive
three-hour length. Nonetheless, this is still a blazingly emotional and
explosively sexy film, which reminds you how timidly unsexy most films are,
although as with all explicit movies, there will be one or two airy
sophisticates who will affect to be unmoved by it, and claim that the sex is
“boring”. It isn’t.


There is a certain look that creeps across a person’s face
when you tell them one of your favourite films at Cannes this year has been the
sexually explicit drama about young French lesbians. (If you’re not sure what
that look might be, turn towards a mirror now.) But Blue is the Warmest Colour,
by the French-Tunisian director Abdellatif Kechiche, is the rapturous opposite
of dirty old man cinema.

One of the refreshing aspects here is that although the
sexual orientation of the central pair is never shied away from (certainly not
in the detailed, graphic sex scenes), the film largely eschews the traditional
LGBT coming out narrative, and aside from an ugly scene in the school grounds
early on, that aspect of Adèle’s development is largely backgrounded until
later in the film.

In what has been a strong competition (with works from the
Coen brothers, Jia Zhangke, and François Ozon among standouts), Blue Is the
Warmest Color all but towers above the rest: based on a graphic novel by Julie
Maroh about a teenage girl who falls in love with a slightly older woman, it’s a
shattering masterpiece about sexual awakening, heartbreak, and self-discovery.

It’s disappointing that Mr. Kechiche, whose movies include
“The Secret of the Grain” and “Black Venus” (another voyeuristic exercise),
seems so unaware or maybe just uninterested in the tough questions about the
representation of the female body that feminists have engaged for decades.
However sympathetic are the characters and Ms. Exarchopoulos, who produces
prodigious amounts of tears and phlegm along with some poignant moments, Mr.
Kechiche registers as oblivious to real women. He’s as bad as the male
character who prattles on about “mystical” female orgasms and art without
evident awareness of the barriers female artists faced or why those barriers
might help explain the kind of art, including centuries of writhing female
nudes, that was produced.


“Men look at women,” the art critic John Berger observed in
1972. “Women watch themselves being looked at.” Plus ça change….

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