Blue is the Warmest Color
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A Conversation with Philippe Garrel (Part 1)
Explaining why Philippe Garrel is one of my favorite working directors can be difficult. Talking with a co-worker, I tried to sketch out his recurring interests: “he makes movies about men, often directors, who cheat on women and have trouble with themselves.” She rolled her eyes, and I’m not blaming her: what, again? Garrel began making movies as a teenager, and his early work that I’ve seen is both gorgeous and the epitome of stereotypical arthouse pretension of the period. There is 1968’s Le lit de la vierge, a very of-its-time film about a particularly mopey Jesus, and 1975’s Le berceau […]
by Vadim Rizov on Jan 13, 2016 -
The Top 10 Scenes of 2013 (From One Woman’s Perspective)
Tis the season of the Top 10 list. In what I figured was an out-of-the-box alternative, I decided to compile not necessarily my favorite films of the year, but the scenes that have resonated with me most. Then, Nicholas Rombes had to go and prove that the “great minds” adage is alive and well. Perhaps fortuitously, our lists have nothing in common. Though Upstream Color would likely crack my phantom Top 10, there is no one individual moment from the film that begged my memory for recognition. The same can be said for Inside Llewyn Davis, Bastards, Viola, Like Someone […]
by Sarah Salovaara on Dec 19, 2013 -
Blue Is The Warmest Color: Beyond the Media Circus
Enough ink has been spilled over the on- and off-screen controversies encumbering Blue Is The Warmest Color that any moviegoer should find herself beholden to a stance before the film even begins. Subconscious or otherwise, the effects of a months-long media onslaught are almost inescapable. As a woman, I’ve been instructed by some grandes dames of criticism that I ought to take issue with the fact that a man has made such a liberal exploration of female sexuality. As a consumer, I’ve learned that the man in question is tortured, torturous and arguably unhinged for threatening to sue one of […]
by Sarah Salovaara on Oct 25, 2013 -
Hot to the Touch: Abdellatif Kechiche on Blue is the Warmest Color
When Adèle eats spaghetti, it’s a sensual affair. The camera studies every move of her mouth, every lick of her fingers and knife. Her eyes are saucers. Her full lips pout. Unlike the slurpy absurdity of noodle-eating in Juzo Itami’s Tampopo, in Blue is the Warmest Color, spaghetti is no laughing matter; it’s a matter of love. And, since it’s directed by Abdellatif Kechiche, it’s also a matter of class: Adèle’s comfort food indexes a working-class background that cannot be left behind. “That is a theme that one could say is central across all my films,” Kechiche said to me […]
by Livia Bloom Ingram on Oct 21, 2013 -
NYFF Critic’s Notebook: 12 Years A Slave, Blue Is The Warmest Color, Like Father, Like Son
A substantial majority of the New York Film Festival slate is traditionally reserved for established auteurs and big-buzz festival titles. It might be better for adventurous film culture if NYFF and Cannes were to ditch the ballast of already established directors in favor of new and uncharted terrain, but that’s simply never going to happen and to protest otherwise is an unrealistic waste of time. (For those in the press corps, it’s also fun to bang through a dozen of the Year’s Most Important Releases in rapid sequence.) The U.S. premiere of Steve McQueen’s much-praised 12 Years A Slave may have […]
by Vadim Rizov on Oct 17, 2013 -
Cannes Film Festival 2013
For American independents, this year’s Cannes Film Festival felt like the end of an era, especially with the high-profile premiere of Steven Soderbergh’s final film, Behind the Candelabra, playing two decades after sex, lies, and videotape seemed to promise the emergence of a vital American independent film culture. These questions re-emerged not just because Soderbergh has announced that he is retiring from filmmaking, but also because he has been widely critical of a film industry that is increasingly focused on international blockbusters. But the events at this year’s Cannes also raised a number of questions about the role of the […]
by Chuck Tryon on Jul 18, 2013 -
Lesbian Lovemaking, Graphic Novels and a Changing China: Parsing the Cannes Awards
Sex sells, but it’s not the kind of thing that wins highbrow prizes—right? The fact that Abdellatif Kechiche’s explicit and entrancing Blue is the Warmest Color (La Vie d’Adèle, chapitre 1 et 2) won the Palme d’Or at this year’s Cannes Film Festival is a watershed moment, not least of which because its frank depiction of lesbian lovemaking wasn’t an obstacle towards being taken seriously. People may have tweeted their puerile snickering about the randy onscreen romps, but any sober viewer would acknowledge that those relatively brief moments (especially in a 179-minute film) were hardly exploitative — in fact, they […]
by Stephen Garrett on May 27, 2013 -
Blue is the Warmest Color Wins the 2013 Cannes Palme d’Or
In a ceremony hosted by actress Audrey Tatou and with a jury headed by director Steven Spielberg, the 2013 Cannes Film Festival awarded its top prize, the Palme d’Or, to Abdellatif Kechiche’s lesbian teen romance, Blue is the Warmest Color. In an unusual move for this auteur-centric festival, the jury gave the award to Kechiche and his two lead actresses, Adele Exarchopoulos and Lea Seydoux. The three-hour film, which also won the FIPRESCI prize, was bought for the U.S. during the festival by IFC’s Sundance Selects. The jury distributed awards evenly among the majority of films that had been buzzed […]
by Scott Macaulay on May 26, 2013
