Adèle’s story is infinitely more complex than the “lesbian coming-of-age narrative” it has been labeled, more often than not by people who would not have to be familiar with a history of queer filmmaking. Of course, I’m already doing a disservice to the film by using the term lesbian. And as far as I can see, that in itself is a problematic framework for a straight man’s portrayal of a queer narrative. Its intensity is all-consuming, inhumanly magnetic. Lesbianism via Kechiche is incapable of being casual.
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Of course the sole straight sex scene of the movie seems like the most realistic, the most casual and banal. If you don’t believe me, wait until the scene where the man is giving a lecture to a group of women on the mysterious power of the female orgasm in art. In Kechiche’s film, heterosexual intercourse doesn’t occupy the same lofty pedestal of lesbian intercourse, where the female form, untouched by maleness, preserved as “pure” by lesbianism, is seen as sacred and mystical. Heterosexual intercourse would be the easiest for the male gaze responsible for the film to portray and naturalize. The scene is meant to stand in contrast to the later sexual encounters with Emma, and yet this seems the least rehearsed of those scenes, the least choreographed and mechanical and voyeuristic.Īnd why wouldn’t it be? The vision of this film comes from a straight male director whose uncomfortable consumption of the actresses’ bodies is hardly subtle. And thus we encounter one of many tropes of the lesbian film: The obligatory sex scene in which the character who will later find homosexual love must first dabble in heterosexual intercourse, where we get to witness their boredom, their awkwardness, the obviousness of their discomfort in this event. Her single encounter with a teenage boy is a sex scene that would be graphic to many American viewers, and yet we are meant to understand from her expressions that she is disinterested, distant, even bored. “It appears to me that this was what was missing on the set: lesbians.”Īdèle is a high school junior newly arrived in her teenage sexuality. Or maybe, as Julie Maroh, the author of the graphic novel upon which the film was based, has lamented, the film ultimately suffered from a lack of queer advisory. At a bloated 2 hours and 53 minutes, one wonders if there were any limitations placed on Kechiche’s vision, and if the film might have improved had someone taken him aside at some point and given him a lesson in the more harmful ways that one can portray a queer person. I am sad to report that I was underwhelmed and uncomfortable, and all too familiar with the tropes at play, none of them creatively handled. I was ready to be moved by something groundbreaking. I had heard the film described over and over again as an experience, one I would come away from with a sense of emotional and psychological exhaustion. Of course I had already heard the extensive buzz, partly because I am obsessed with queer narratives in any form, partly because my social media network fits the exact niche that would want to inject all kinds of meaning into a ten minute lesbian sex scene. I watched Blue with as blank a slate as I could muster. It doesn’t take an art history major to tell you about the history of female bodies being objectified and commodified, but if you’re looking for a primer in all the ways that modern media is still failing queers, this film is a good start.
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Maybe it is telling that lesbian movies are usually a Herculean task to procure in their full form, but all too easy to find as prolifically uploaded sex scene super-cuts. The top Google search related to director Abdellatif Kechiche’s Blue is the Warmest Color is “Blue is the Warmest Color Sex.” The film’s sex scenes earned it an NC-17 rating in the United States, and video upload sites are now ripe with compilations of the film’s most graphic moments, easier to consume for those whose interest in the film does not include the plot. The 200 Best Lesbian, Bisexual & Queer Movies Of All Time.LGBTQ Television Guide: What To Watch Now.