Differing outlooks on creativity and career paths and different social backgrounds (their parents are contrasted in dinner scenes that have a light brush of social satire to them) put strains on their relationship, but their love is a strong, passionate and mutually fulfilling bond for the most part, until complacency sets in and Adele commits a breach of trust which Emma cannot forgive. They meet again, and over time their relationship becomes physical, they fall deeper in love and eventually move in together when Adele leaves school. But on her way to meet him one day, she makes momentary eye contact with a girl with blue hair, Emma ( Léa Seydoux), an art student and an “out” lesbian a few years older then her, and finds she cannot forget her. She is (hetero)sexually active, if not as provocative and crude about it as some of her schoolmates, and has a crush on a boy in the year above, with whom she goes out on a few dates. It’s a film about lesbians, but it’s for anyone with a brain and heartbeat and a halfway functional empathy gene.Īdèle is a bright, articulate high school student who reads voraciously and whose favorite subject is French literature. And yes, the central relationship is between two women - we’re resisting the handy “lesbian movie” tag up front because, while we can’t push water uphill, neither do we want to contribute to the reductive categorisation of a film that deserves as wide an audience as possible. It’s the kind of insightfulness that finds its nearest recent equivalent for us in Derek Cianfrance’s “ Blue Valentine” but ‘Warmest Color’ goes much, much further. This is the story of Adele’s first love, the pain and the magnificence of all the insecurity, joy and self-discovery that goes along with that, right up to the relationship’s end and beyond. But it’s really about a defining relationship, told from the point of view of one of its participants. Loosely based on a graphic novel, the film spans a brief but tumultuous period in Adèle’s life, from her last years of high school till some time later, when she is a twentysomething adult pursuing a career as a teacher.
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The wags among us might suggest that the 3-hour film overwhelmed us with its sheer length but truth be told we could have watched, or rather lived Adèle, as brought vividly and unforgettably to life by Adèle Exarchopolous (Cannes Best Actress winner or we’ll stage a picket) for hours more.
#Il corsaro nero una storia sbagliata movie#
And so it was with Abdellatif Kechiche’s “ Blue is the Warmest Color” which has been the most transportative, truthful and sublime movie experience of our Cannes to date.
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But occasionally, very rarely, we experience the cinema not of escape but of exploration in which the discoveries you make stay with you and become knitted into the fabric of your memory as surely as if you’d really been there, really done that.
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Of course for many movies that experience, of killing a mutant robot or whatever, may have evaporated before you’ve picked the last of the popcorn husks from between your teeth. Bear with us a second on this: basically to submerge yourself in a story well-told is a way to live out other lives within your own, and through those complex and magical processes of identification, to breathe and dream and feel things that your own short span might otherwise never afford you. Why do we watch movies? No, really, why is it? As close an answer as we’ve ever come to for our own, fairly evident obsession with what we consider the greatest storytelling medium humankind has ever developed, is well, that life is short.