Kechiche's often scrutinized proclivity for close-ups ties into his fascination with subtle, intimate details -- his actors quite simply *become* his characters, and he doesn't want to miss a single twitch, blush, wince or glance. He doesn't feel the need to stylize or dramatize, nor should he. As a realistic celluloid romance, this is fascinatingly detailed perfection.
I feel like the best companion piece is, oddly enough, The Searchers. Both films deal with a subject through their inability to do so. Much as Ford put his racism on screen, I feel that Kechiche is putting his own sexuality out there through the Arab character who works in cinema and other small elements. He's sharing his uncertainties about making a film with a subject that seems alien to him. Pure honesty
I don't see what the whole fuss was about, nor the Palme D'or. As unsubtle a movie can be, Adele's life is pretty boring, dull as well as she is. She just wanders around and talks to a obnoxious people that are only there to make the (so called) story progress - seriously what was up with that fight at high school?
Zizek has a point, when he talks about Catherine Breillat's Romance. People cannot take sex WITH love, in cinema. That's so strange, in our pornified society. We have no problem with porn (the representation of sex without emotion). We have no problem with the representation of intense love. But to bring the two together seems unbearable. Why? This film shows how complex hurtful and beautiful love is. It's brilliant.
The world is large and there are many subjects in it, so we might ask ourselves seriously why a middle-aged man would choose the Sapphic yearnings of a teenage girl for his. Frequently punctuated by porno, I might add. The lead actress has a series of scenes (masturbation, boy sex, girl sex) that wouldn't be out of place in an EMMANUELLE movie. The style's Art Film seriousness, but the movie is a big phony.
3 hours offers a lot of time to succeed or fail, so it's fair enough that Blue does a bit of both. It has two great leads and moments of transcendent beauty, but the second half can't make its cliches come alive, and while controversies should usually be ignored, it's hard to look at the sex scenes and shake the idea that this is a vision of lesbianism made by a straight man to be palatable for straight audiences.