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Universal acclaim- based on 183 Ratings

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  1. Negative: 18 out of 183

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  1. Aug 9, 2014
    La vida real, esto es lo que de verdad pasa con el amor, todo lo que no se espera de una cinta que sorprende, los 179 minutos mas encantadores de mi vida, La mejor película de la década, sin duda!
  2. Jul 6, 2014
    Probably the truest and most raw romantic drama I've ever seen. Adele Exarchopoulos gave a performance with more realistic emotions and reactions than one coming from an actual reality show. This film displays so accurately the human relationships between one another emotionally and sexually, how quickly they can be broken and how easily they can be repaired.
    I can believe the historical
    choice of giving the prestigious Cannes Palme d'Or award not only to the director, but to the two lead actresses due to their basically flawless performances. Honestly, this film really made me think on a greater scale about love, loss, and me as a partner in relationships. Expand
  3. Jun 21, 2014
    A mature movie for mature audiences. It realistically shows a young Adele coming to terms with her lesbian identity in a still rather homophobic French society. It also shows rather well how one cannot control who ones falls in love with and how one's first love can seem like the universe. And moreover, Adele simply doesn't fall for or sleep with Emma right away. It grows to that point which is really how life works. Yet, their relationship doesn't work and rightly sends the message that cheating is detrimental in society where it is widely believed and glorified in the media that one's partner will do that.

    My complaints with the film are how long it is (even though you don't feel that as much as you might) and how the long lesbian sex scene was, which essentially ended up being pornography. I wasn't the only theatre-goer who giggled with absurdity when it simply would not end! And not that I think one who watches porn is necessarily immoral; rather I think that the director shouldn't try to pass off what he'd produced in that scene as art. He did it push boundaries and make a name for himself in the end. But it's the filming technology and porn actor stand-ins that's becoming even more common in once taboo movies. This is really nothing revolutionary.
  4. Jun 17, 2014
    Incredibly long at three hours, Blue Is the Warmest Color is paced as to connect the audience to these believable characters. Beautifully shot and passionately acted, I found it easy to love this film.
  5. Jun 6, 2014
    Does anyone realize that this 15 year old girl was a minor and engaging in sex with an adult? What about the abuse of an adult hitting on a minor? I can appreciate the theme of a girl exploring her sexual orientation but I cannot get around the fact that she was a minor.
  6. Jun 3, 2014
    Last year’s Palme d’or winner, the much-hyped French lesbian drama directed by Abdellatif Kechiche, about a high-schooler, Adèle (Exarchopoulos)’s discovery of her sexuality through a heartfelt relationship with Emma (Seydoux), an art college student, it is a visceral rite-of-passage eloquently elaborated in 179 minutes, details a thoroughly poignant metamorphosis of Adèle, from green adolescence to womanhood, and under the parameter of Kechiche’s truth-capture tack, unyielding close-ups and hand-held cameras faithfully records the normality of Adèle’s daily life.
    read rest of my review on my blog, google cinema omnivore.
  7. Jun 1, 2014
    Realistic to the point of being boring at times, though stunning in others. An honest look at a relationship that just couldn't be. The story follows the progression of a relationship that starts as unruly passion and experimentation to one of stagnation, distance and eventual separation. Sexual, blue and realistic.
  8. May 1, 2014
    This movie may change your life, but it's depends of who you was before you watching this. Maybe it's pretty long movie, but I'm not regret any of 3 hours I've spend watching Blue Is the Warmest Color, beacause there is great acting, interesting plot and pretty good direction.
  9. Mar 31, 2014
    An interesting story, well executed.

    I could watch Adele what's-her-name eat a bowl of cereal and nothing else in a feature length film. She was captivating and the director deserves props for creating this timeless piece of art regardless of his methods or level of creepiness.

    So says me, anyways.
  10. Mar 2, 2014
    This review contains spoilers, click expand to view. My experience with the French Cinema is extremely limited. Hollywood is my thing and on Europe cinema I have always liked British cinema. So I might sound like a ignorant person while I review this piece of awkwardness. Too many close shots made me to close my eyes from time to time. Adele had the same expressionless face all the time in this movie. To be honest I've watch this movie to tear it apart and surprisingly this move had some good stuff from time to time. That little details that presented wrong really gave me a bad taste to mouth. First: There is not a thing called "hard metal" (although that name could be the subtitles fault). Second: While you are dreaming you are completely PARALYZED. You can't touch yourself while sleeping. The best thing you can do is to twitch your arm a bit. That first spaghetti scene is disgusting! In fact all eating scenes are disgusting in this movie. For a 3 hour long boredom stuff goes completely fast. You had a kiss? BAM! SEX! You went to club to see your friends? BAM! KISS! What the hell? Can't you do a little bit explaining and preparation for a 3 goddamn hour long movie? Because of these details are extremely fast the main plot goes too slow. It was utter boredom. I divided this movie into 3 parts in my mind. The complete disaster which is the first hour, a fairly nice middle hour and complete disappointment which is the final hour. Can I say that this "15 minute long sex scene" is a placeholder. Yeah it shouldn't be that long. It wasn't necessary. As a girl who had ZERO EXPERIENCE of lesbian sex she made a better job than porn stars. WHAT THE F***? How the hell can she be so good at this kind of sex without any experience? Because plot moves too slow and sub plots goes too fast a placeholder like that was necesarry. At first hour my score was 3/10 to this movie. I was clutching my face. Than in the middle hour movie starts to pick up the pace. Some interesting events happened and I got attached. During that times my score went up to 7/10. It was really good. Emma and Adele relationship was shown perfectly. We see how LGTB people lives, what they feel? It was educational. This had to end at that hour. Because the disappointment which is the 3rd hour had come. Movie got a major step back to 5/10. It was boring. There wasn't anything happening during these hours and the stuff that mattered like Adele cheating was felt forced in to this movie. "Yea let's have a bad situation to our happy couple because that's how the movies works. Come on guys this movie has to be three hours." -_-. I barely know anything about human psychology. I don't know nothing about LGBT psychology but I wouldn't forgive my same gendered partner which had sex with the opposite gender that easy. Let's come to another important factor in this movie. Can't I watch an artisctic film without any information on philosophers or painters? Can't I watch this movie without having any artistic integrity. Because I felt that the director is trying to say "Why are you watching my movie you uncultured douche?" to me. Adele's acting was good. She shows some skill wherever it was necessary. Like the classroom scenes. Oh! Don't get me started on the cafe scene because when they were making up it appears they went invisible because no one told them to quit it. Making out in a cafe is ok and understandable but starting to touching each other in a cafe had to put some eyebrows up. I've been to France and surprisingly never seen anybody touching each other. 5/10 until that ending. That ending was incomplete and it didn't bring any satisfying conclusion and brought one point down. If you want to see and learn more about lesbian life I recommend you to watch Boy's Don't Cry. Not this. Expand
  11. Lyn
    Feb 28, 2014
    A wiser, more mature movie about lesbian love & sex might have been interesting to watch. This one was so dull and aimless, I took three days to finish it up. By contrast with other coming-of-age stories, we don't really know, at the end, whether Adele has learned anything significant about life, love or herself, aside from the facts that (a) she reallyreally likes lesbian sex and despite zero experience, can jump into it like a champ; and (b) breaking up is hard to do. It's disappointing that so little actual affection seemed to develop in the sex itself, even allowing for a period of initial raucous abandon. Adele also isn't developed that much. The director obviously relished showing her not just having sex, but eating, dancing, eating, drinking, teaching, blubbering, eating ... but whether she's smart or a dolt is hard to say. Finally (nitpicking) I love the way French films often show people who look "real" -- with sketchy skin, bad teeth, horrible hair, in this case ... but these two also have such perfect, pale, toned, utterly flawless hairless bodies, it's kind of ridiculous. Expand
  12. Feb 28, 2014
    I must admit that this lesbian movie was quite impressive than any gay theme movie ever I saw. It gave equal preferences to elements in the story. I mean it did not lean on the only sexual side, but emerged to explore on the emotional side as well. It briefs how hard a life as a gay and within that relationship problems like regular ones.

    The director used some of the outstanding tricks
    to capture many great scenes for the movie. Looked everything was realistic and natural including sleeping, fighting and street walking scenes and of course sexual intercourse. Yeah, it had too strong sex scenes like Steve McQueen's 'Shame' and I was shocked for its rawness. It shows how todays director's are fearless to show what they really wanted in their films.

    Like the original French title say 'La Vie D'adèle: Chapters 1 and 2' this movie divides its story telling into two parts. The first one reveals the journey of character Adèle to find what really she is and another spills the seriousness of its reality. Sometime we won't understand the reason for path we're choosing to travel in life. Once we're into it the after effects will teach more about the truth. This movie was rendered in such concept.

    Adèle was the center of the attraction. It was her real name as well the screen name. Every youngster will fall for her incredible innocent performance and for her wild beauty, especially for her rabbit teeth. There are many reasons why it was called Blue, As many of us believed because of blue hair of character Emma. But Emma comes somewhere middle of the story and later on she vanishes till the beginning of the ending. I thought maybe because of Adèle who wore a blue dress at the end, which warms her (life) after the disastrous previous years.

    The aggressive sex scenes from the movie drawn the barrier from the Oscar. Otherwise, this movie would have done great in 2014 Academy Awards. It is not fair to let it go because of the plot it deals, there's many things in it like life and relationship. If you are successful you will get the movie's message at the end with your sympathy and tenderness.
  13. Feb 8, 2014
    This review contains spoilers, click expand to view. The problem with "Blue is the Warmest Color" is not pornography, it's Dogma...or at least it's legacy.

    For those who don't remember, Dogma - or Dogmé '95, if you prefer - was that style of filmmaking championed by Lars von Trier and some other Danes that made the co-opting of direct cinema for the purposes of fiction filmmaking their "revolution." It's aesthetic was amateurism, poorly lit or completely unlit scenes, handheld camera work, only incidental music. It promised to restore honesty and vitality to movies, something these filmmakers felt was lacking in mainstream Hollywood cinema of the time. Twenty years ago this may have stood for something but the fact of the matter is that Dogma's aesthetic has been completely absorbed into our visual vocabulary. Whatever strength lied in the immediacy and spontaneity of its method has become a trope, a cliched code for "reality" and "honesty" and it's proliferation is increasingly just a cover for plain awful filmmaking. Director Abdellatif Kechiche's film, "Blue is the Warmest Color," is a great example of how (since this style and its variations are so ubiquitous a distinction must be made between the aesthetic of Dogma influenced dramas and the commonly employed style of the "mockumentary" used to great effect in comedies that is basically a combination of direct cinema and cinema verite but not the subject of this critique).

    Where to begin with the ineptness of this film? There's almost too much to talk about. Lets just look at one of the worst scenes: Adele and Emma's first encounter.
    So much has been made of the staginess of the sex scenes in this movie that no one has said anything about or even noticed the staginess of almost everything else in the movie? Nearly every beat in this film feels false and sloppily conceived. It's ironic that the very technique which is supposed to give a greater sense of reality to the picture actually exposes its fraud. Adele first sees Emma in the middle of a cross walk. Adele crosses the street one day soon after her first kiss with another girl and spots Emma, an apparently out lesbian who looks her over. Adele stops in the middle of the cross walk to blankly stare at Emma as she passes her by. Keep in mind this is a very busy crosswalk on a bustling street. Miraculously, Emma, walking with her arm around another girl gives Adele a good looking over as well in the middle of the crowded intersection. This is their first encounter. Now who stops in the middle of a busy intersection to stare at someone walking passed them? Well, possibly someone possessed by some great life forsaking impulse. And then what fortune that the person you just looked at returns your stare with her own head cocking once-over as well! Ironically, this scene is both overplayed and underplayed at the same time. Stopping dead in the middle of an intersection is the kind of big deal moment that we would expect from an brash over-the-top Hollywood movie. But this movie trades in the subtleties, the information gained by noticing the incremental changes on a person's face or in their behavior so instead of say, a set of dangerous or hilarious consequences befalling Adele as she stands there, nothing really happens at all. She just stands there staring autistically for a very, very long beat. Now I understand that she's apt to stare autistically, the movie makes a big point of it, but standing in the middle of traffic to do so is a dangerous faux pas. If we're to believe she's suddenly found herself doing such a unusually thing on account of something so remarkable as Emma's beauty this is probably the opportunity to make a point of it. But the movie just simply doesn't seem to think much of it. The scene is handled so clumsily, so awkwardly straightforward and absent of any kind of directorial insight or angle that the whole scene comes off comically unrealistic. It completely lacks any sense of Adele's emotional intuition even though we can clearly see whats going on. This is the subtle power of a director: to use a remarkable and unlikely event to show us something about a character's inner world, their desires, their realizations or their emotional progress. If it works you might accept the absurdity of the situation that brought the insight forth ; it's a kind of slight if hand, the kind this director and Dogma would surely disdain.

    So what's the point of the intersection if you're not gonna do anything with it? The problem here is more than aesthetic. It's the first time the director really fails to let us into Adele's world, to help us feel what she's feeling. We merely cognate that Adele is attracted to Emma, we never feel that she is. And even then we only cognate that because we have presumed what her desires might be after being spurned by the girl she kissed earlier in the film. If it weren't for that scene we would really have no idea why Adele is staring at this girl. The Hollywood filmmaking techniques that dogma eschews can convince us all kinds of fantastic fabrications from outer space monsters to zombie time traveling monkeys. But these filmmakers struggle to make even the simplest concept ring true.

    It also doesn't help that they are also some of the most egregious violators of writing's essential concepts like the rule of "show me don't tell me." These movies are so hampered by their rejection of normal story telling technique (and creativity) that they have to spend the entire time telling us what's going on. It's ironic that a filmmaking style so confident in its ability to convey the immediacy of a character's world and experience must relentlessly fall back on the dialogue to tell us what the characters are thinking, feeling, planning and doing. And in this movie, over and over again, the actors spew the same lines with the same meanings making the same points, ad naseam. Kechiche has clearly found no other way to tell us that Adele is really obsessed with Emma other than to have her repeat that sentiment endlessly. Film is a visual medium. Great films communicate visually, not with talking. But Dogma disenfranchises filmmaking of its greatest strength - the image. In its place it has attempted to revive the muscle of the writer, subtly implying that the image in its decadence has betrayed cinema's higher purpose. But writing for the screen is precisely the art of writing so that things are visually comprehensible. Every "hack" writer in Hollywood can do this but Dogma in it's mission to restore cinematic purity fails to deliver us any new useful idea. And naturally, in the absence of any good writing, the enfeebled, hackneyed image they're left with fails to deliver as well. Giant close ups of noses, eyes and mouths don't fill in the gaps of bad writing. The documentary style they employ, so often fixed on the deep close up keeps us permanently on the outside of the actor. Instead of getting closer to a character we're stuck on their face, never allowed into their interiority. There's just no lens long enough, no close up big enough to get inside a character's world. The lenses of these filmmakers desperately search the faces of their actors looking for some look, some glance, anything that could get us in there. But, alas, nothing. The shots in "Blue" run on and on pressing the limits of acting - and our patience -but there's only so much an actor can do. And these actors took it as close to the limit as we could ask but it still wasn't enough. If only the camera could burrow into the actor's faces.

    Now, don't get me wrong I understand the arguments about this Dogma style defying the traditional Hollywood narrative filmmaking that compromises the truth and integrity of a character and their moment in favor of a set of suspect narrative imperatives probably meant to accomplish the normalization of traditional values and conservative ideologies. I even agree with this conceit! And I also get that with a less lavish production (or in their case, no production at all) a more disengaged (read: objective) view point should empower the audience to seek information from the actors themselves rather than getting that information shoveled to you. These are nice ideas but this solution simply does not work. The aesthetic and the meaning of this movie have no commonality. They don't work together. Here's the problem: the aesthetic is essentially a lie and the meaning of the movie remains elusive because the aesthetic actively impedes its delivery. Dogma movies and their kin have merely created a different style of **** shoveling. Only theirs is in the guise of the audience's free reflection. But we all know that these filmmakers are including and excluding as much of a story or character as any mainstream film, just as committed to the delivery of a narrative, which restricts and expands reality as much as any other style. Its just that these artists seek the imprimatur of a documented reality rather than the common fiction of popular movies (insomuch as direct cinema documentaries are guilty of the same kind of above described contrivance, the fact that they deal with actuality, not fiction deserves a forgiveness we shouldn't extend to Dogma).

    "Blue is the Warmest Color's" aesthetic can basically be described as botched voyeurism. We're only allowed as much insight into the character's lives as a peeping tom could get but then once there all the things we see are at best un-informative and at worst badly blundered contrivances. At least if we're going to have the privileged view point of a spy we should see things so intimate or private they could open a character's world to us. But then again maybe that's just the fantasy of voyeurism and this movie is the reality: that spying on people probably tells us very little about other people or worse, that other people's lives are just as boring as our own. That being said I don't think any of ours lives are quite as incredible as the ones on screen in this film. Take the ridiculous break up scene where Adele simply walks out the front door after a blistering five minute fight with Emma and ends their relationship by politely closing the door behind her or the problem that we cannot tell that Adele is any more interested in Emma than anybody else she's with in the movie because nothing in her behavior or the filmmakers technique tells us either way. In fact, since we have so little idea what Adele is feeling in this movie we must simply deduce that the relationship with Emma is the important one because its the one we have to endure for three hours...
    God, I sure hope it was, I'd hate to have to watch a sequel.

    There are some good things in this picture...some of the acting is pretty good but the director unfortunately did nearly everything he could to get in the way of it. In that he succeeded mightily.

    Finally, don't get me started on the pornography. This was not pornography. I make pornography. Pornography is beautiful, startling, dangerous, powerful, boring, arousing, open ended, liberated and enslaved all at once. These people don't know the first thing about pornography. I wouldn't disparage it that way. Only the French could make a movie about sex so unsexy. Don't believe me? Try watching French porn sometime.
  14. Jan 26, 2014
    Good story, good acting, but not really well-structured, in my opinion. A bit overlong (and I usually like films to be over 2 and a half hours) and the craving for "realistic-ness" just too pushed, which resulted in the film not being really realistic after all. This results in a compelling but slightly average watch.

    I just want to point out that the explicit scenes didn't bother me at
    all, in fact, the first two or three were almost necessary. Besides, they seem to be a common feature in French film. The one thing that bothered me, though, was the pseudo-intellectual dialogues between the characters, as if the screenwriter wanted us, the viewers, to learn something about philosophy too - a bit offensive and, again, pushed. Expand
  15. Jan 22, 2014
    BAD PORN gone glorified porn. Complete waste of three hours, the plot is non-existent. No character development or real drama. Just a girl-meets-girl history with lots of ASS showing. The only reason to watch this movie is to see the gorgeous Adele. But do we need to **** for three hours straight? No!
  16. Jan 22, 2014
    This review contains spoilers, click expand to view. Una storia d’amore. Che nasce per uno sguardo casuale in una piazza affollata, esplode di inarrestabile passione, poi inizia a raffreddarsi tra routine e piccoli malintesi, infine si conclude con amarezza a causa di nuove attrazioni anche se il legame fatica a spezzarsi. Adele è una liceale di Lilla che vive le incertezze proprie della sua età, tra una famiglia che non ne intuisce il difficile momento e una scuola di periferia animata però da insegnanti appassionati che ne alimentano l’amore per la letteratura. La sua omosessualità si disvela incrociando Emma, più vecchia di lei di qualche anno, proprio mentre sta andando all’appuntamento con un ragazzo: quando la ritrova in un bar per lesbiche dove è finita un po’ per caso e un po’ no,. ci vuole poco perché il rapporto diventi intensamente fisico e, per lungo tempo, si trasformi in una simbiosi allo stesso tempo totalizzante e liberatoria. Quando però Adele cresce e corona il suo sogno di insegnare all’asilo – inizia qui la seconda parte del film - si presentano nuove opportunità che finiranno per allontanare le due ragazze: i capelli di Emma - non più studentessa d’arte, ma pittrice - non sono più blu come nella prima parte e sono il simbolo della normalizzazione. Malgrado una scenataccia di gelosia che soffoca nella culla il rapporto dell’amante con un collega, è proprio Emma a rifarsi presto una vita con una nuova compagna, mentre Adele – più fragile – resta a fare i conti con il vuoto nella sua vita e una brace che non si vuole spegnere. L’idea che ci vogliano tre ore per raccontare una storia all’apparenza banale potrebbe spaventare, eppure – a parte una scena di sesso da circa otto minuti francamente pletorica (però, nel caso scappasse la pipì…) - il franco tunisino Kechiche gira un film in cui non si avverte il passare del tempo grazie a una capacità di raccontare con levità che rende estremamente scorrevole il passare dei minuti. Il tran-tran della vita quotidiana – la scuola, la famiglia, il lavoro – è reso interessante da un notevole cura per il particolare e, soprattutto, grazie a un’attenzione assidua per i volti e gli sguardi, con una speciale predilezione per quelli di Adèle Exarchopoulos, indagata da mille primi piani quando è sveglia e anche quando è addormentata con l’utilizzo di materiale girato fuori scena per accentuare l’autenticità. Il soggetto è tratto da un fumetto di Julie March, ma il regista e lo co-sceneggiatrice Ghalia Lacroix ne hanno eliminato qualsiasi effetto melodrammatico per raccontare una vicenda che dimostra che, se ogni amore è diverso a modo suo, tutti possono essere interessanti da raccontare (ma bisogna esserne capaci, ovviamente, come nelle delicatissime scene al parco quando il sentimento si dischiude) e non importa se il sesso dei due componenti la coppia sia uguale o diverso. Curiosamente, la questione che ha smosso la chiacchiera attorno al film viene ben presto accantonata durante la visione perché l’attenzione è attratta da aspetti più intriganti, dimostrando che spesso lo scandalo è nella mente di chi guarda: Kechiche sta dalla parte dei suoi personaggi e si limita a mostrare le reazioni delle persone attorno alle due ragazze limitandosi a indicare i due estremi del rifiuto un po’ ipocrita da parte delle compagne di scuola e della serena accettazione nella famiglia di Emma. Ne esce un film che unisce qualità narrativa e grande densità emotiva sprigionando un fascino sottile che si infila sottopelle e cresce con il passare del tempo dopo che i titoli di coda sono finiti: non è perfetto – c’è qualche lungaggine, le scene di sesso sono troppe e allentano la tensione, il rapporto di Adele con i genitori è inconsistente, il salto all’età adulta troppo brusco – ma si tratta di difetti ben lontani dall’inficiare la qualità complessiva che è stata con merito premiata a Cannes. Così come è giusto che sia stata riconosciuta la bravura delle due attrici che sono sempre al centro della scena – il resto del cast fa tappezzeria – protagoniste di un impegnativo tour de force da cui escono come meglio non si potrebbe disegnando due figure molto concrete, magari non particolarmente simpatiche ma estremamente reali (‘niente trucco sul set!’ pare abbia ordinato il burbero regista e la povera Léa Seydoux è stata costretta a studiare Brando e Dean per tirar fuori la propria parte maschile). Expand
  17. Dec 28, 2013
    I could not believe how disappointed I was by this movie. The acting was excellent, and were it not for the editing I would have been floored, but the horrible pacing and editing just drew me right out to the point where just pulled me right out of the movie because I was tired. Tired of pointless scenes. Tired of trying to figure out how much time had passed. Two hours in I was tired of it and bored, and this movie is three hours.

    It had great acting and a potentially great story, but all that went to ruin because of it's poor construction. This movie wastes an hour and a half of your time on scenes that have no relevance to the story or just plain go on way to long. Complete waste of time.
  18. Dec 26, 2013
    My favorite movie of the year. It casts a magical spell on the viewer. I "fell in love" with the main character and thought about her for days afterward. Just a sublime movie in every way.
  19. Dec 15, 2013
    Beauty is in the eyes of the beholder people say. Some may call this erotic French drama; art, others may say it’s pornographic; some may callll its premise an insightful study, others may say it’s a shallow excuse for graphic sex scenes. If you ask me, Blue is the Warmest Colour, like most works of art, is a bit indulgent; but it felt perfect! This was somewhat of a coming-of-age film about a teenage girl named Adele, and the tremendous changes her life incurs after she falls for an artsy, blue haired college woman named Emma. Adèle Exarchopoulos, who (conveniently) stars as Adele, gives a breakout performance. Her odyssey of sexual awakening and emotional maturity; as she comes to understand herself and the complexities of love was a committed performance. The character’s growth takes years; with the film spanning her awkward teenage years all the way through to young adulthood. Exarchopoulos stands firmly, holding our attention for the entire time. Both her and her equally fabulous co-star, Léa Seydoux (as Emma), showed a great deal of bravery in their roles. My hat goes off to them. The final part of this trio was Abdellatif Kechiche, who obviously directed the hell out this movie and its stars. The way his camera stalks and zooms in on Adele at even her most intimate moments could almost be considered predatory. Also the detail he gives to those controversial sex scenes may have been excessive. In the end, it was all in the name of getting this character study across in the most meticulous way possible; and I must commend him for that. With so much commitment and hard work on all the corners of this film, it’s no surprise how persuasive Adele and Emma romance was. I was taken aback by it, and captivated for the film’s entire three hour run time. Blue is the Warmest Colour was a keen study that was thoroughly moving. Beauty was certainly in the eyes of this beholder. Expand
  20. Dec 13, 2013
    Blue is the Warmest Color is actually the best picture of 2013. You might consider it a pornography for aristocratic people it is not, and most importantly it is not a pornography; it is a window to certain lives, it is beautiful and so realistic, porn is fake, this is so realistic, deserving Academy Award Nominations for both actresses. It is well written, shot and directed, the shaky camera aspect of the film makes it so believable and very realistic. It is very intense at times, very passionate throughout and very ambitious, characters are in some risky situations or even in danger or in a fight, every shot throughout makes you care even more for the characters. Not only an epic love story but also shows the absolutely poisonous look of society towards Gay people. Blue is the Warmest Color is a 3 hours long epic romantic drama, well shot, well written and well directed and acted, everything is done passionately behind the camera and on the camera. A+ Expand
  21. Dec 4, 2013
    I'm not a big fan of the genre, but I enjoyed all 3 hours of the movie. The last time I had to hide behind the seat in front of me was around 20 years ago when Jurassic Park came out. Watching "Blue Is the Warmest Color" In a movie theatre I had to hide because of the sex scenes, which are quite good, but difficult to watch in a public spaces even if you have a lot of experience watching porn xD However, it is a good thing, as it is a new experience, not a bad thing. The movie itself is very realistic and honest: the characters act as they probably would have in real life, no unrealistic or accidental twists of plot that I could have noticed. I would believe if I was told that the movie is entirely based on a true story. The actors are also very good, their emotions seem sincere. Some people notice that the movie is above all about lesbian love. Actually the fact that the main characters are lesbian is not so important for the love story that is presented. This observation in itself is interesting: that a movie about lesbians is actually not about lesbians after all and, moreover, you are not expected to experience that love between lesbians is something out of the ordinary, it is shown as something mundane. As it should be. Would recommend watching. Expand
  22. Nov 16, 2013
    The 3 is for the gorgeous cinematography. The minus 7 is for the boredom of three hours of a teenage girl's confusion, naivete, tears and snot. Carry some tissues if you are in tears with a runny nose half your life. Here's the critic with whom I agree: Steve Persall Nov 7, 2013 "Kechiche's doting on entwined limbs, thrusting pelvises and oral stimulation, all carefully posed and continued longer than necessary to get his point across, races beyond titillation to creepy voyeurism". Tampa Bay Times. This might have been edited to an hour and a half, maintained the strong parts, and allowed the audience to leave not thinking they all needed showers (not cold, just cleansing). Another "Tree of Life" experience. Where are the "the emperor is wearing no clothes" critics? Hmmm.
  23. Nov 16, 2013
    The premise is not especially original nor inventive. Nevertheless, by the end of the third hour, La Vie d'Adele marvelously and bitter-sweetly becomes singular cinematic experience that feels profound in its essence. It avoids tedious detailing of events, people, circumstances, complex narratives or character studies. Instead, it focuses on simple and meaningful themes such as youth, self acceptance, love, sex, loneliness, lost and dealing with the sorrows of solitude. The juxtaposition between life and intimacy achieves greatness here. Expand
  24. Nov 14, 2013
    Honestly I had a bad feeling about this movie. But when I left the theatre my mind was changed. The actress where extremely talented (especially adele). The film shows feelings like no other I saw for a long time. The 3h passed like 1min and this for me is a sign of a good movies especially when the story can lead to a bad and boring film. This is for me a masterpiece of the french cinéma. However this film is clearly not for all public and I think the target is people who can be receptive to a strong love story (the gay things isn't a major aspect of the movie and a lot of people can see themselves through the characters) and the theme of the crossing line between teenage and adulthood. So you have to know what you're going to see, because unlike big blockbusters this doesn't fit to everybody. Sorry for my bad english (obviously it isn't my birth language Expand
  25. Nov 9, 2013
    This movie won Palme d'Or at the Cannes Film festival this year, so I had certain expectations.
    It is true, cinematography and acting are superb. Having said that, why does it have to be that long? Three hours?! At times I was glad it wasn't the last show I went to or I would get asleep. In my opinion, it would be beneficial to cut at least 30 minutes out. Nevertheless, overall it is a
    very intense and sensible movie with plenty of masterfully shot erotic scenes. Love story full of passion, happiness and tears. Expand
  26. Nov 5, 2013
    BLUE IS THE WARMEST COLOR left me so astounded that I had to walk aimlessly for an hour to get over its gut wrenching examination of our ability to love and lose so profoundly. After nearly 2 hours and 20 minutes the film builds to a series of scenes that make you feel like your heart has been scraped by a knife, leaving only a battered shell of veins intact. Forget all the talk of explicit and long sex scenes, these just small bits of BLUE IS THE WARMEST COLOR, a very modern story of love and its power over all of us. Is it really possible to feel so profoundly? And can we possibly move on? Expand
  27. Oct 29, 2013
    A disconcerting realism serving a great, an erotic, a mad love. A true love. The actresses are gorgous, sensual. They really live before our eyes. Everything seems authentic (I have NEVER seen something like that). The Cinematography is absolutely sublime (Kechiche is a virtuoso). And finally, 3 hours is not enough I would like (and I will) go back to cinema to watch again and again Adèle and Emma love, cry, laugh live. Expand
  28. Oct 28, 2013
    Certainly, one of the best pictures of the year!!! I really liked it, and I'm proud of Adele Exarchopoulos, because she is a very new and young actor and she does really well!!! Excellent!!!
  29. Oct 27, 2013
    The film captures the thrill and the pain of young love highly effectively. The two lead actresses are phenomenal. Even though the movie is over three hours, it never drags. I'd suggest it's not first-date material, but perhaps second date! Everyone's heard about the sex scenes. I think they're well done, but perhaps a hair too long. Absolutely recommended.
  30. Oct 25, 2013
    "La vie d'Adèle" is single story about a young girl grows from teenage to adulthood. As Homer's Odyssey, Adèle crosses many experiences, her first love, her first disappointment. Her partenaire, Emma, is simpler than Adèle. Emma is clearer, no default. Adèle is more complex but it's difficult to empathize with her. Perhaps, director wants that because it's realer. "Blue Is the Warmest Color" is raw, honest, passional and amazing. Great film! Collapse

Universal acclaim - based on 41 Critics

Critic score distribution:
  1. Positive: 39 out of 41
  2. Negative: 0 out of 41
  1. Reviewed by: Ian Freer
    Nov 18, 2013
    Anchored by two of the most natural, committed performances you’ll ever see, Blue Is The Warmest Colour is the most moving love story of the year.
  2. Reviewed by: Emma Simmonds
    Nov 15, 2013
    Fearless, relatable and beautiful, this is one of the year’s best. Holding you so close for so long, you won’t want to break free.
  3. 88
    The winner of Cannes’s top prize, the Palme d’Or, and the international critics prize at the same festival, the film was hailed as a breakthrough, a graphic and emotional love story, the first same-sex feature ever to win the Palme, in the week after France legalized same-sex marriage.