Blue Is the Warmest Color
Blue Is the Warmest Colour
Regie:
Abdellatif KechicheKamera:
Sofian El FaniBesetzung:
Adèle Exarchopoulos, Léa Seydoux, Salim Kechiouche, Jeremie Laheurte, Catherine Salée, Aurélien Recoing, Benjamin Siksou, Alma Jodorowsky (mehr)Streaming (4)
Inhalte(1)
Mädchen gehen mit Jungs aus – das stellt die 15-jährige Adèle zunächst nicht in Frage. Doch das ändert sich schlagartig, als sie Emma trifft. Die Künstlerin mit den blauen Haaren lässt sie ungeahnte Sehnsüchte entdecken, bringt sie dazu sich selbst zu finden, als Frau und als Erwachsene.
Atemberaubend, intensiv und hautnah erzählt Abdellatif Kechiche (Couscous mit Fisch) in BLAU IST EINE WARME FARBE diese universelle Liebesgeschichte.
Mit der Goldenen Palme von Cannes zeichnete Jury-Präsident Steven Spielberg nicht nur den Film als Meisterwerk aus, sondern verlieh sie erstmalig auch an die beiden Hauptdarstellerinnen für ihre grandiose schauspielerische Leistung.
(Alamode Film)
Kritiken (10)
Wenn der Film über ein Teenager-Hetero-Paar handeln würde, wäre er gewöhnlich und unauffällig. Wenn er eine Geschichte von zwei homosexuellen Typen erzählen würde, würden es sich die meisten Zuschauer*innen nicht ansehen. Er ist über zwei lesbische junge Frauen und die Jury in Cannes an der Spitze mit dem Hollywood-König verlieh dem Film die Goldene Palme. Der dreistündige Film Blau ist eine warme Farbe erzählt – ähnlich wie Linklaters Boyhood – langsam und nicht zu sehr dramatisch über alltägliche Sachen im Leben. Aber im Unterschied zu Boyhood konzentriert er sich auf eine konkrete Etappe im Leben der Hauptfigur und er macht es mit so einer Tiefe, dass in der letzten Phase ihrer Geschichte die Tränen kommen. Weil wir alle wissen, wie ES wehtut, egal auf welches Geschlecht wir stehen. Die sexuellen Szenen sind sehr offen, aber nicht selbstzweckmäßig. Im Gegenteil – für die physische und emotionale Wahrnehmung der Geschichte, die das A und O sind, haben sie eine große Bedeutung. Die zwei jungen Hauptprotagonistinnen spielen unglaublich. Jedes Wort, Gefühl, jeder Blick.
()
Blue Is the Warmest Colour takes a complex approach to depicting several developmental phases in the life of a girl who is becoming a woman. Kechiche could have shown only cause, effect and consequence, but he is more interested in the process and the course of the transformation itself, as well as its duration. Length is one of the many tools that the director uses to break down the barrier between the movie 90 protagonist, Adele, and the viewer. ___ A good eighty percent of the dialogue (and thus of the whole film) is handled through close-ups of faces. The traditionally rendered dialogue scenes consistently reassure us that reality continues outside the frame of the picture. Conversely, we are given the impression of being enclosed in a small space that is more or less defined only by the actors’ bodies. Ignoring the surrounding environment intensifies our connection with the characters, whose intimate zone limits what we see and hear. The distancing of the camera from the character at the end of a dialogue scene then serves as a liberating means of stepping out of the inner universe of interpersonal relationships and into the outside world. Whether the characters’ communication, be it verbal or non-verbal (including sex), is conveyed using the shot/countershot technique or through panning, also plays a role. However random it may seem, the form is always under the director’s control, fully subordinated to the process of bringing the characters together and distancing them both physically and mentally. ___ In multiple senses, a line is crossed during the erotic scenes (love and sex, reality and pretence), each instance of which has its own justification (for example, the sharp contrast between a moment of extreme intimacy and the following scene of a family birthday party, which requires far more pretence). The explicitness of the erotic scenes raises legitimate suspicion of voyeurism on the part of a tyrannical director (whom both actresses have described as a genius, though they no longer want to work with him), while their unusual length is the most extreme expression of the film’s unwillingness to pretend anything in communicating with the viewer. It is no coincidence that Blue Is the Warmest Colour also addresses the limits of honesty of representation (whether in film or in other arts) in dialogue that never descends into café blather that would only serve to demonstrate the filmmaker’s intellectual prowess. References to films such as Pabst’s Pandora’s Box reasonably complement the main motifs of the narrative and concurrently help us to understand the characters outside of the relationship context. ___ I don’t know of many films that could go this deeply and with such physical urgency under the skin of the main character. In my case, the idea of “putting yourself in someone else’s shoes” was manifested with extraordinary intensity. After three hours, I was glad to start living my own life again, but my connection with Adele definitely did not end with the closing credits. 85%
()
(weniger)
(mehr)
I’ll be honest, I was afraid of this. My subjective viewer experience was terrified of a three-hour long French lesbian art film, and I believed that not even the fact that it will probably be a very good three-hour long French lesbian art film would help. But the fears were unwarranted, the film gripped me from the beginning and didn’t let me go until the end. Fantastic performances, incredibly firm direction; a thrilling experience. I wouldn’t cut a single minute of it, every scene in Blue is the Warmest Colour makes sense.
()
The problem isn’t in its (justified) enormous length, but it should have taken a break between chapters 1 and 2. A good few years too, to let Adele grow up, because it seems quite out of place when, in the second phase, the scarcely twenty-year-old girl plays a middle aged woman and all that was different from her teenage phase were the glasses. Another problem are the explicit sex scenes; how they were performed didn’t fit with the mood of the movie. More than anything else, it seems like Kechiche wanted to quench his thirst for slapping young meat on set. Paradoxically, the best bed scene was the dialog after the garden party. And not least is the problematic closing twenty minutes when it gradually fizzles out in a way quite unfair to the qualities of the rest of the movie. These difficulties still don’t outweigh the fact that there are still entire passages (enough to make a long feature movie) when the story of Adele and Emma’s relationship is unrivalled in authenticity, drawing the viewer through all of the good and bad emotions that are integral to any relationship. P.S.: If you are racking your brains about the role of the diary that there so much secret and important talk about, but then nothing (not even the MacGuffin), so I recommend finding out what work this is based on and what the narrative style the original is.
()
From the first more intimate dialogue, physically intense spectacle, three hours in Adele's skin is surprisingly little. Or at least it would be, if the script didn't sometimes play a slightly repetitive melody. The hotly debated and open love scenes could really use some editing. Not that the first liberating one didn't have its place in the film, but the others no longer offer any surprises and, in one case, even slow things down. It's a pity, especially since the situations are so believable and inspired by life, when a person has a smile from ear to ear under all circumstances, because no matter what happens, they are simply happy. On the other hand, I won't get over the moments when you have a heavy feeling in your stomach together with the main protagonist because nothing is okay for a long time. Abdellatif Kechiche is obviously a peculiar patron, but for allowing me to live Adele's life, I must thank him without hesitation. It's even more disappointing that she grinds to a halt at the very end and in a crucial moment appears almost helpless. And I don't want to remember the sincere, vibrant Adele as helpless.
()
Ein Film aus der Sammlung "Das Leben, so wie es ist". Und diese Sammlung fängt an, sehr gut zu werden, denn sie zählt so wie Blau ist eine warme Farbe auch Nymph()maniac 1 dazu. Diese Heldinnen muss man einfach lieben. Und mit ihnen ein Stück des eigenen Lebens durchlaufen. Am anderen Ende des Spektrums steht dann der Appell des Lebens, der sich aus der Jugend der Helden aus Clip ergibt. Es ist nicht wichtig, woher diese Helden kommen, sondern womit sie uns einen Spiegel vorhalten. Und ein Lieblingsproblem leidenschaftlicher Beziehungen wird immer die Frage sein, was man mit dem begonnenen Abend anfangen soll, wenn uns unsere bessere Hälfte nicht genug Beachtung schenkt. Sind Affären und Trennungen das momentane Gefühl einer befriedigten Eitelkeit wert? Gleichzeitig muss ich hinzufügen, dass ich von dem Originalcomic "Blau ist eine warme Farbe" sehr angenehm überrascht war. Das Original ist sowohl zärtlicher als auch düsterer, Adèle hat einen anderen Namen und die Verfilmung hat bewusst auf einige Details und Motive aus ihrem Leben verzichtet. Aber diese Spiegelung hat dem Comic ganz natürlich sein eigenes Leben gelassen, und wenn Ihnen der Film Blau ist eine warme Farbe auch nur ein wenig zusagt, lesen Sie die Vorlage, es lohnt sich.
()
It’s very rare to see a festival flick so relatable, with artistic choices that fully support the power of the message and the emotional effect. The three-hour series of details on the faces of actors, whose ordinary activities deliberately don’t deviate from the process of the heroine’s development, may have some passages that are almost unnecessarily long, but the creator would be able to justify them without hesitation. We are not only watching Adele, we are Adele and we are experiencing with her tense moments as participatorily as the film medium will allow. The sex scenes are perhaps too long, but also inevitable, given the consistency of the process of following the internal and sexual development of a fragile heroine, and they are also pleasant for the male viewer (both actresses not only act great but look great, too). Sexuality can be a heavy burden and here we see it unadorned and very realistic. 85%
()
Filmchallenge 2018 - die TOP 10 der Staaten. Blau ist eine warme Farbe umfasst alles, was mir an Frankreich und französischen Filmen gefällt. Ein unglaublich schöner, sensibler, bunter und aufregender Film. Er enthält eine Reihe von langen, unvergesslichen Szene dir mir für lange Zeit im Gedächtnis bleiben - vor allem das Familiendinner mit den Austern, der Streit, die Szene in der Bar, die Geburtstagsfeier. Und Lykke Li und ihr "Follow the rivers“ ist buchstäblich die Hymne zu diesem Streifen, ein besserer zentraler Song existiert nicht. Adèle Exarchopoulos ist in der Tat mignonne, so wie es im Film anklingt, und vor allem spielt sie famos, das ist eine Entdeckung wie Marina Vacth. Und Léa und die an Hollywood gewöhnte Schauspielerin kann auch mit kurzen blauen Haaren nicht enttäuschen. Ich könnte bei dieser Geschichte ruhig sechs Stunden ausharren, und dabei muss ich lange Streifen nicht unbedingt haben. Cannes pour toujours!
()
From the first moment, it is clear to you that this was filmed by a creator who knew exactly how to handle each scene. If he wanted to present desire, he succeeds perfectly, but also boredom, hesitation, inability to fit into a group, beauty and spontaneity of lovemaking, as well as sweating and the speed of sex. Three hours, and yet every scene is in its place. One cannot even believe it until they see it. And what is the most beautiful thing about it? Abdellatif Kechiche simply portrayed things (relationships) as they are, he did not embellish anything, he was only realistic, which sometimes means being cruel. It may not look nice, but why not capture reality as it sometimes is? Thanks to Adèle Exarchopoulos, you can see how many dimensions human nature has. We are not just good or bad, sometimes we are disgusting, sometimes devoted, sometimes naive, sometimes foolish, sometimes completely indifferent, and at other times... different. One person can handle all of this. Abdellatif Kechiche convinces me, after "Black Venus," that the audience can handle reality and it does not have to be exaggerated, sometimes it is enough to simply let the camera look. Nevertheless, I can't help it, the length is excessive.
()
What to say about a movie that lasts three hours and you're not bored for a minute, in fact, you'd gladly watch another hour... A very impressive, extremely intense, and thoroughly immersive cinematic experience! That's how I want to express my feelings. Moreover, the actress playing the lead role could not have been better chosen, as she did not just play Adèle, she lived her. I could go on and on about the story of the intimate lesbian relationship between Adèle and Emma, with a lot of great dialogue, but I don't think it would do much good. It can't be told because it has to be seen to understand the genius of this emotionally intense relationship film. (95%)
()