The website responded by suggesting he could be seen as paranoid. ''How, when you are adored, when you go up on the red carpet, when we receive awards, can we speak of suffering?''Ī month later, Kechiche wrote an open letter to Rue 89 news website that appeared to accuse the ''arrogant, spoilt'' Seydoux of slander and suggested she could explain herself in court. ''How indecent to talk about pain when doing one of the best jobs in the world!'' he said. Two days later, he told a press conference in Los Angeles that it was obscene for these young women to claim they had suffered.
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By the time they reached America, however, this reflective series of observations had been recast as fury. She then went on to say how normal it felt, even when a model-maker came to make moulds for the silicone shields they wore over their genitals. I felt like a prostitute.''Īll smiles: Lea Seydoux (left), director Abdellatif Kechiche and Adele Exarchopoulos in Cannes.
Sometimes you could spend like five hours on a scene. Talking about filming the sex scenes, the longest of which was filmed over 10 gruelling days, Seydoux said: ''It was sometimes embarrassing and sometimes illuminating, surrounded by three cameras in a very small room. She was hitting me so many times, and was screaming: 'Hit her! Hit her again'!''īoth actresses had said similar things at Cannes, when the film was in its first heady rush of success. ''You can see that we were really suffering. In the same interview, Exarchopoulos recounted how the director drove them on during a scene of a break-up.
Seydoux, the elder of the two actresses at 28, was quoted at Telluride Festival as saying, to website The Daily Beast, that working on the film was ''horrible'' and that she had felt ''like a prostitute''. Blue is the Warmest Colour was now a festival favourite, with the intensely serious Kechiche and its young stars asked to give dozens of interviews.Īs their stock of stories gathered momentum, however, Kechiche began to emerge as something of a monster. Nothing Maroh said could douse the critics' rapture, however. ''It was a brutal and surgical display, exuberant and cold, of so-called lesbian sex, which turned into porn, and me feel very ill at ease,'' she wrote. At the same time, Julie Maroh, the author of the graphic novel on which the film was based, publicly criticised the film's ground-breaking sex scenes, describing them as ''ridiculous'' and questioning whether there had been any real, live lesbians on Kechiche's set. Immediately after the Cannes premiere, a French film technicians' union criticised Kechiche for his ''disorganised'' approach to filming and for making demands on his crew that amounted to ''moral harassment'', a charge he denied. It traces their affair from flirtation through a bitter break-up and its melancholy aftermath with such force of feeling that you seem to be living their lives yourself.Ī still from Blue is the Warmest Colour. The film, directed by Abdellatif Kechiche, a French director of Tunisian origin widely regarded as one of French cinema's small handful of masters, is the story of a great passion between two teenage girls. ''On one side are obsessive perfectionists, on the other self-involved exhibitionists, or so the theory goes.'' Is this true of the Blue winning team? Almost certainly, but with the added spice of Frenchness.īlue is the Warmest Colour is quite extraordinary. ''Directors and actors being what they are, they like a good argument,'' wrote a commentator in a piece comparing the saga with other screen clashes. The swirl of hostility, accusations and counter-accusations, retribution and jeering from the wings that has enveloped Blue is the Warmest Colour, the French erotic epic that was the toast of last year's Cannes Film Festival, makes most of Hollywood's catfights look pale by comparison.
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