(After reading some feedback, thank you for your correction. Because I just jot down my feelings after reading it, and I haven’t thought about it carefully and modified it. There are many flaws and imprecision. I will modify some content after reading it next time. With text. Thank you!)
1. Take it off quickly, thoroughly, and suddenly. Not long after the movie started, Adèle began to take off, first touching himself, then with the little rock man, the highlight of the film, Adèle and Emma live ammunition three times, occupying the last two-thirds of the length of the page. Our heroine's feet are not very good in Chapter 1, but no amount of fat on her face can hide the beauty of young breasts. There are enough sex scenes in this movie, long enough, and even a bit boring. I have seen criticism that this kind of same-sex scenes are relatively fake, which is not the case for lesbians in reality. Whether this is the case in reality, I have not investigated it, so it is difficult to draw a conclusion. This kind of sex scene can of course be a gimmick, and it is indeed indispensable in this film. The producer claimed to have been released in the United States for a clean cut and was sentenced to NC-17, and had no relationship with mainstream cinemas. Now that this is a strategic approach, a few cuts on the sex scene will not affect the integrity of the plot too much, if not at all. Of course, directors and producers can have their own insistence, because even if the film goes to mainstream theaters, it will probably not make much commercial gains. The two actors worked very hard, especially this young Adèle. Because it was the first time to watch such a long naked sex scene on the big screen, the attention of the first few scenes was distracted to the physiological level. If there is a chance to watch it again, the sex scene in this film should be reviewed again. Quite a few clues to decipher the characters are buried in these glamorous scenes. How does homosexual affect different audiences? As a man, I have to say something responsibly. Whether it is one man, one woman, one man, many women, many men and many women, or there are only many women, I like to hear about it. But women’s reactions to same-sex scenes and LGBT people’s reactions to these scenes are really interesting topics for me.
Enough to eat, bad enough. Our young Adèle is in Chapter 1 mainly did two things, except for doing things, basically eating. The so-called food color is also sexual, but little Adèle eats pasta and potatoes over and over at home, and when he is sad, he grabs a handful of snacks under the bed. The director still gives close-ups and tells him to watch the 3-hour movie before dinner. I was suffering from temporary pasta phobia when I was deliberately full. Seeing the actors inside chewing various red pasta with blissful faces, it caused physical discomfort in the lower part of the chest again and again. The scene of eating is critical to the characterization of Adèle. What to eat, who to eat with, when to eat, what to do when to eat, and what to say, most of the plot relied on these details in the first two hours. The three most important food scenes are Adèle's visit to Emma's house, Emma's visit to Adèle's house, and the party that Adèle prepares for Emma. After these three scenes, all the clues pointed to the ending that Adèle and Emma must be separated very clearly, and it must not be the bloody ending like the original comics. What's interesting is that one of the trailers before this movie is the ideology of Zizek's various nonsense movies. Kyogen ideology is everywhere in 2 minutes. There are not many ideological elements in this movie (not completely absent, and those elements are still quite prominent), but the director obviously implanted his own consideration of the plot in the handling of these scenes. In the first two scenes of home visits, a counterpoint is clearly formed. From the expressions of the characters, the content of the conversation, the furnishings, and even the food itself, it has repeatedly reminded this kind of collapse that is inevitably rooted in the collision between different class backgrounds. I have no idea about prices in France, but judging from the film, seafood is obviously a relatively luxurious, at least middle-class food. Our Adèle didn’t know that lemon juice should be dripped into oysters. Although she claimed that she did not like seafood, she could eat it like pasta after she tried it. The counterpoint appeared in Emma’s pasta scene, Emma was deeply impressed by this. The proletarian food that the working people on both sides of the Atlantic apparently did not have much appetite, and only lightly inhaled one, and in the next scene, Adèle, who had always had a good appetite, also only inhaled one. And in an earlier picnic scene, Emma's picky on food and Adèle's indomitable nature of food have heralded the irreconcilable gap between the two. Although I consciously paid attention to the bed scenes after the two home visits while watching, my attention was inevitably attracted by the huge white meat on the screen. I believe that the sex scenes after the two scenes will be different. As for the difference, I have to wait.
3. In addition to dry and eat, most of the rest of the movie is spent in various kinds of bang. Seeing the embarrassment of our Adèle facing Emma's family, I almost didn't laugh, and my mind was full of Bourdieu. The cruel thing about this movie is that every detail, every line, shows class differences. Emma's mother and stepfather were open-minded. She inherited the artistic cell of her biological father and knew everything about upper-class topics; Adèle studied French literature, but didn't know Sartre's famous quotes, and she had read Emma before she was in high school. The finished book. Emma's parents emphasized the importance of clear goals, while Adèle's parents only knew that female artists should be raised by a rich person. The British and American version of the movie uses the comic name Blue is the Warmest Color, and the French original version is called La Vie d'Adèle – Chapitres 1 & 2. In fact, from the very beginning, this movie is absolutely centered on Adèle. It really talks about, or only talks about Adèle's life. The Emma we see always appears with Adèle, or appears in Adèle's perspective. In the movie, only a third party tracks Adèle and Adèle's own two perspectives. From this perspective, I feel that this movie is not a romance. Of course love, or the fantasy of love is the only main line of the film, but its narrative revolves around Adèle, or it focuses on the failure of Adèle's life. The failure of Adèle's life is still pointed out at the beginning of the film, long before Emma's first appearance. Such a girl is always in a state of not knowing what she wants, and she lacks people who can guide her in her life. In a meal with Emma's parents, Adèle talked about the importance of school to herself: the school gave her a chance to get rid of the mediocre life around her. Because of this, in an earlier scene, Adèle said that she didn't like teachers who limited her imagination; and her love for courses was also based on the teacher, not the content of the course. A series of failures in her life can be expected. In this sense, this is an extremely realistic and even extremely cold realism film: our Adèle not only lacks clear goals and even the awareness of establishing goals, accompanied by this With a fatal lack of consciousness, she also lacks the ability to achieve her goals, let alone the psychological qualities necessary for her to achieve her goals. On the other hand, Emma is completely different from Adèle in every point. She is not only smart, purposeful, and insistent on her artistic attitude, but also has flexible means and firm determination, and even an indifferent attitude towards ordinary life. Adèle should not make things difficult for us, her origin determines that it is difficult for her to obtain Emma's vision and ability. You can see the influence of the director’s personal background on the film: the Arab elements that are ubiquitous in the film (and at the same time difficult to be identified by me), the attack on the United States through the mouth of the actor (which caused the audience in New York to laugh), and the identity of Adèle’s classmates ( It can be clearly recognized by skin color and face), this caring director, in order to prevent audiences like me who lack basic concepts of French society from misunderstanding his intentions, he simply stated that the name Adèle comes from Arabic in a scene in the gay bar. He changed the name of the heroine in the original work and even the name of the work. I can't identify all the elements that have been symbolized. All aspects of this film are indeed available for Mr. Zizek (his imagination). 2. In fact, from the very beginning, this movie is absolutely centered on Adèle. It really talks about, or only talks about Adèle's life. The Emma we see always appears with Adèle, or appears in Adèle's perspective. In the movie, only a third party tracks Adèle and Adèle's own two perspectives. From this perspective, I feel that this movie is not a romance. Of course love, or the fantasy of love is the only main line of the film, but its narrative revolves around Adèle, or it focuses on the failure of Adèle's life. The failure of Adèle's life is still pointed out at the beginning of the film, long before Emma's first appearance. Such a girl is always in a state of not knowing what she wants, and she lacks people who can guide her in her life. In a meal with Emma's parents, Adèle talked about the importance of school to herself: the school gave her a chance to get rid of the mediocre life around her. Because of this, in an earlier scene, Adèle said that she didn't like teachers who limited her imagination; and her love for courses was also based on the teacher, not the content of the course. A series of failures in her life can be expected. In this sense, this is an extremely realistic and even extremely cold realism film: our Adèle not only lacks clear goals and even the awareness of establishing goals, accompanied by this With a fatal lack of consciousness, she also lacks the ability to achieve her goals, let alone the psychological qualities necessary for her to achieve her goals. On the other hand, Emma is completely different from Adèle in every point. She is not only smart, purposeful, and insistent on her artistic attitude, but also has flexible means and firm determination, and even an indifferent attitude towards ordinary life. Adèle should not make things difficult for us, her origin determines that it is difficult for her to obtain Emma's vision and ability. You can see the influence of the director’s personal background on the film: the Arab elements that are ubiquitous in the film (and at the same time difficult to be identified by me), the attack on the United States through the mouth of the actor (which caused the audience in New York to laugh), and the identity of Adèle’s classmates ( It can be clearly recognized by skin color and face), this caring director, in order to prevent audiences like me who lack basic concepts of French society from misunderstanding his intentions, he simply stated that the name Adèle comes from Arabic in a scene in the gay bar. He changed the name of the heroine in the original work and even the name of the work. I can't identify all the elements that have been symbolized. All aspects of this film are indeed available for Mr. Zizek (his imagination). 2. In fact, from the very beginning, this movie is absolutely centered on Adèle. It really talks about, or only talks about Adèle's life. The Emma we see always appears with Adèle, or appears in Adèle's perspective. In the movie, only a third party tracks Adèle and Adèle's own two perspectives. From this perspective, I feel that this movie is not a romance. Of course love, or the fantasy of love is the only main line of the film, but its narrative revolves around Adèle, or it focuses on the failure of Adèle's life. The failure of Adèle's life is still pointed out at the beginning of the film, well before Emma's first appearance. Such a girl is always in a state of not knowing what she wants, and she lacks people who can guide her in her life. In a meal with Emma's parents, Adèle talked about the importance of school to herself: the school gave her a chance to get rid of the mediocre life around her. Because of this, in an earlier scene, Adèle said that she didn't like teachers who limited her imagination; and her love for courses was also based on the teacher, not the content of the course. A series of failures in her life can be expected. In this sense, this is an extremely realistic and even extremely cold realism film: our Adèle not only lacks clear goals and even the awareness of establishing goals, accompanied by this With a fatal lack of consciousness, she also lacks the ability to achieve her goals, let alone the psychological qualities necessary for her to achieve her goals. On the other hand, Emma is completely different from Adèle in every point. She is not only smart, has goals, and has an artistic attitude towards herself. Perseverance, but also flexible means and firm determination, and even an indifferent attitude towards ordinary life. Adèle should not make things difficult for us, her origin determines that it is difficult for her to obtain Emma's vision and ability. You can see the influence of the director’s personal background on the film: Arab elements that are ubiquitous in the film (and at the same time difficult to be identified by me), the attack on the United States through the mouth of the actor (which caused the audience in New York to laugh), and the identity of Adèle’s classmate ( It can be clearly recognized by skin color and face), this caring director, in order to prevent audiences like me who lack basic concepts of French society from misunderstanding his intentions, he simply stated that the name Adèle comes from Arabic in a scene in the gay bar. He changed the name of the heroine in the original work and even the name of the work. I can't identify all the elements that have been symbolized. All aspects of this film are indeed available for Mr. Zizek (his imagination).
4. I don't think this is a romance movie. It would be more simplistic (overhead) to simply classify it as a gay movie. The value of love in this film lies in this. Adèle is a girl who has always been confused, but her love with Emma is real. The cutest, or the most affectionate part of our Adèle is also here. She values this love. This is the only true love in her life. She lives on it and will continue to live on it. In the last gallery scene, which was slightly redundant, Adèle looked for blue. What did she see in the end? She only saw one piece of red, and finally found the only touch of blue through the source of red. In another shot, we see Emma and "Red" posing in front of blue. This is an Adèle perspective. This is one of the two places that touched me the most in the whole film. Another appeared in the restaurant scene in the previous scene. Adèle, who doesn't understand wine, ordered white wine for Emma, which she specifically confirmed by calling Emma's stepfather. She (in vain) tried to use sex to restore Emma, but we can already see Emma's attitude at this time: she no longer loves Adèle, although in the previous period (we know it has been at least 3 years), Adèle has never forgotten Emma . The next scene confirms this in a colder way: it not only confirms that Emma has no thoughts about Adèle, but also (quite funny) confirms that Adèle and Emma are basically people in two worlds. A girl like Adèle lives in her love and struggles with work she doesn't like. She has nothing but love, but we just watched her lose love, and there is no possibility of recovery. If the screenwriter wrote our Adèle as in the original and died of a terminal illness, it would be a complete relief for this character.
I am not a gay myself, but also a man (I love to hear about female homosexuality), so during the 3 hours I watched it, I intentionally or unintentionally ignored the gay background of the film. I believe that relevant analysis has already been exhausted, and these analyses will only increase after the large-scale release of the film. Regarding homosexuality, or lesbian emotions, I am not an expert, nor do I have a strong interest in it. I had previously accepted the notion that same-sex relationships, and its emotional model, is not essentially different from heterosexuality. This statement was later scoffed by comrades (experts). But at least in this movie, from what I saw, I didn't feel this essential difference. Because until the end of the film, I still have this question. Our Adèle, who broke with her family in order to be with Emma (the original is expressly, the movie implies), is she really a lace side? Through the director's clues, it seems that the answer he gave is no. From the beginning, Adèle made it clear that she was only interested in Emma. She was attracted by Emma's blue hair and had a sexual drive (the first self-draft); she went to gay Bar, although there is no clear purpose, we know that she is expecting Emma to appear; and before that, she just wondered if she was a lace side, because she was kissed by a girl after breaking up with a little rock man; she was at the party When asked if he had only talked about Emma’s girlfriend, Adèle was puzzled and said yes; after the cheating, our Adèle’s first lie was to falsely claim that he was sent home by a girl-while covering up the cheating. Her first reaction was to conceal the sex of the person who cheated. Correspondingly, Emma's attitude is very clear. She knew that she was a lace edge when she was 14 years old. After that, she dated with lesbians and mixed in lesbian circles. At least through these clues, we can know quite clearly that Adèle is not a lace edge, and she is not even bisexual. We didn't see her love for a gender or a sexual orientation, all we saw from beginning to end was her love for Emma alone. This kind of love can be said to come from the self-fantasy of unreliable young women, or it can be said to come from sexual engagement, but it is so touching. This kind of love for an individual is so pure and so rare, it crosses class boundaries, and even crosses sexual differences. From beginning to end, only our Adèle insisted on this kind of love. In other words, from the beginning to the end, only this girl who does not have much cultural reserves, is full of fantasy and lacks the ability to act, truly obtains this kind of love. I love her that way. Although I have Lu Xun's complaints about her, I still hope that after the last shot, the Arab-French guy who has devoted himself to the real estate industry can catch up with her and give her a mediocre happiness.
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