release, even as American audiences began to line up around the block for the chance to make up their own minds. These disclosures fractured the initial red-carpet alliance and threatened to cast a shadow over the film on the eve of its U.S. Meanwhile, complaints by the actresses and some crew members over directorial demands during production began to surface as well. Critiques of the film slammed the authenticity of the lesbian sex, as assessed by some important critics and lesbian commentators, including the author of its source, a graphic novel.
The three shared the stage, the red carpet, the media blitz.Īlmost immediately, however, a storm of another sort erupted over two aspects of the film: the duration and shooting style of the sex scenes, on the one hand, and the behind-the-scenes dynamics on the set, on the other.
Astonishingly, in an unprecedented nod to collaboration at the resolutely auteur-focused event, the jury specified that the prize was to be shared between the director and his two stars, Léa Seydoux and Adèle Exarchopoulos, without whose intense participation and improvisation the film would not have had its remarkable power and passion. Blue won the Cannes Film Festival’s highest award, the Palme d’Or, in May of 2013, taking the town by storm. Abdellatif Kechiche’s Blue Is the Warmest Color arrived in a world seemingly beset by a peculiar amnesia, according to which no director had ever made an art film with sex scenes (certainly not lesbian ones) before, no audience had ever seen one, no critic had ever been tasked with reviewing one.
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