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It also admits an interesting piece of trivia: after Carlos Reygadas last year, Mexicans have won now best director in two successive years. That last film is, for all its harshness, well worth keeping an eye open for. The only real surprises were the complete exclusion of The Great Beauty and Amat Escalante’s best director win for puppy-strangling favourite Heli. Michael Douglas failed to take best actor, but our second pick, Bruce Dern, ended up with that gong. Our predictions weren’t too far off the money. But the time has surely come to reconsider that weird rule. Happily, Steven Spielberg’s jury relented and awarded the women honorary Palmes d’Or. It looked as if they were about to get shut out. And Adèle Exarchopoulos and Lea Seydoux, stars of the film, were clearly streets ahead of any of their competitors. Why? Well, the festival’s arcane rules state that no performers from the Palme d’Or winner are eligible for acting prizes. The film seemed certain of victory when it was announced that Bérénice Bejo had won best actress for her turn in The Past. Surely, the public can cope if we critics can. Pundits are already wondering if Kechiche will be able to release the film with its numerous, highly explicit sex scenes uncut. Three hours long, largely concerned with the romantic doings of a naive teacher and a bohemian hipster, the film builds with quite extraordinary grace into a ferocious tale of passion fulfilled and thwarted. I very slightly preferred Paolo Sorrentino’s The Great Beauty - surprisingly a complete shut-out at tonight’s awards ceremony - but it is impossible to argue with the quality of Blue is the Warmest Colour. On emerging, both Ms T Brady and Mr D Clarke, your representatives, mimed large tick gestures. But, when critics had fully digested Abdellatif Kechiche’s extraordinary Blue is the Warmest Colour, they quickly elevated it to the status of near-unbeatable favourite. The Coens’ Inside Llewyn Davis had its time. Then, briefly, Hirokazu Kore-Eda’s Like Father Like Son surged ahead. This is simply my personal stance.For a while, back in the seventh century, it looked as if Asghar Farhadi’s The Past might be in with a chance. But I'm also looking forward to what other women will think about it. Even before it opened in cinemas here last week, the controversial 2013 Palme d'Or winner Blue Is The Warmest Color had already drawn some attention to itself here for the eight minutes cut from. I find it dangerous.Īs a feminist and lesbian spectator, I can not endorse the direction Kechiche took on these matters. But here we go, to sacralize once more womanhood in such ways. The way he filmed these scenes is to me directly related to another scene, in which several characters talk about the myth of the feminine orgasm, as.mystic and far superior to the masculine one. I totally get Kechiche's will to film pleasure. And among the only people we didn't hear giggling were the potential guys too busy feasting their eyes on an incarnation of their fantasies on screen. The gay and queer people laughed because it's not convincing, and found it ridiculous. The heteronormative laughed because they don't understand it and find the scene ridiculous.
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BLUE IS THE WARMEST COLOUR UNCUT MOVIE
Especially when, in the middle of a movie theater, everyone was giggling. Maybe there was someone there to awkwardly imitate the possible positions with their hands, and/or to show them some porn of so-called "lesbians" (unfortunately it's hardly ever actually for a lesbian audience).īecause - except for a few passages - this is all that it brings to my mind: a brutal and surgical display, exuberant and cold, of so-called lesbian sex, which turned into porn, and me feel very ill at ease. I don't know the sources of information for the director and the actresses (who are all straight, unless proven otherwise) and I was never consulted upstream. It appears to me this was what was missing on the set: lesbians. Sure, to me it seems far away from my own method of creation and representation, but it would be very silly of me to reject something on the pretext that's it different from my own vision. The fashion in which he chose to shoot these scenes is coherent with the rest of what he his creation.
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I consider that Kechiche and I have contradictory aesthetic approaches, perhaps complementary.