<p>Although director Abdellatif Kechiche once stated in an interview that he thinks "The Blue Close to Infinite Warmth" is a film about love, not (just) a doubtless "gay film", when it was voted 66th After the Palme d'Or in At the Cannes Film Festival, it was named the first gay (female) film to win an award, which is also a problem of course. In addition, the very naked way in which films portray lesbian eroticism immediately sparked heated discussion in the film industry and the LGBT community. Speaking of this film, I fear that we cannot avoid a series of discussions about on-screen reproduction and the viewpoints of lesbianism and eroticism.</p>
<p><img src="https://steemitimages.com/640x0/https://cdn.steemitimages.com/DQmafSmAr6joKobb1KkDBH2MLtbVL2HU1dwTFaBnjD9inVn/images%20(33).jpeg" alt="https://www.unifrance.org/film/33823/la-vie-d-adele"/></p>
<p>Many film critics praised the film's "unprecedented" lesbian sex scenes (especially Adèle and Emma after they confirmed their 10-minute relationship), trying to describe how sex could help reveal the relationship between the two women in the film. love; but there are also those who follow feminism and lesbians who criticize the director for exploiting the female body and the lesbian sex from a male perspective. This reading seems to come from Laura Mulvey's classic article "Visual Pleasure and Narrative Cinema" Following Freud and Lacan's psychoanalytic approach, this article criticizes that classic Hollywood narrative films often presuppose a single point of view of a male subject, and therefore the female character in the film is inevitably the object being watched, passively reduced to the object of the film. sexual desire under the "male gaze" (male gaze).</p>
<p>However, Mulvey's comments had a specific object and background. In fact, one of the main criticisms of Mulvey's article is that he ignores the viewing position of women and denies that women can practice sexual desire through the view of a male-like subject.In other words, Mulvey has not fundamentally touched on female sexuality, but rather explores sexual desires other than heterosexual masculine men; If this is the theoretical basis for labeling "Blue" with the male stare label, is it the same? ? Slay any other erotic possibilities that the film can provide besides being a boy?</p>
<p>Borrowing the contrast highlighted by the English title Blue is the Warmest Color of "Blue", the boundless warmth of blue is not limited to the definition of cool color; no matter how we define the sex scene "Blue", the intensity of eroticism is contained in it. It will not diminish from this. Excluding the controversial sex scene (not to talk about it, but not rushing to define it), the stare that "Blue" gave was definitely not just for men. A lot of close-up shots are used in this film, especially of Adèle's slightly open mouth with two cute bunny teeth: Adèle gobbling up a spaghetti mouth full of meat sauce, and tearing chocolate under the bed after breaking up with her boyfriend. The mouth that is eaten, the tentative mouth that was the first to eat raw oysters, the mouth that was accustomed to slightly opening while sleeping, the mouth that was hungry when kissing, the mouth where the tears and nose almost flowed into it. after Emma is stabbed and kicked out of the house ... Those gorgeous flaming red lips, this close-up captures every snippet of Adèle's daily life: how her hair is still messy, she takes the bus to school, and her favorite book is 18th century French literature. 18 which he reads in Pierre de Marivaux's unfinished novel "The Life of Marion" (1731, La Vie de Marianne) (this is actually also a very interesting reference, the original French name "Blue" definitely pays tribute to this novel; secondly , The novel is a pioneering work of a novel narrative style based on a personal letter written by a woman to a close same-sex friend, Kechiche seems to have anticipated possible criticism of her male. identity, and He was the first to compare himself to Maliv, who also wrote the inner world of women as men), he was hit by a senior on the bus and then became a partner and broke up, he cried to friends in a restaurant, he was attracted to the hairy Emma blue while she was crossing the street Later, I met her at a lesbian bar ... These photos that trace Adèle's life are relaxed and natural, and there is no intention of exploiting Adèle as a female object under the gaze of men. Instead, it seemed to invite the audience to watch Adèle., Into his life, into his world and perspective. Then, along with Adèle, notice from her vantage point the blue color that she admires and craves Emma.</p>
https://youtu.be/JdBOQY5mdco
<p>Perhaps compared to intense sex scenes, these everyday scenes are much more approachable. The audience can easily enter. Regardless of gender and sexual orientation, they could feel how much Adele was attracted to Emma and how not to escape into love and sex. This is not to go back and criticize the sex scene, but to show that the entire film, including the sexual and non-sexual parts, is actually full of a lot of spectacle. We cannot rule out that certain men's desires are satisfied by watching in bed, but maybe they are not. After all, Mulvey already had enough experts to show that a man's gaze is not enough to encapsulate the enjoyment of all men watching movies; other than that, it can't. Exclude non-male viewers from sexual stimulation. And outside the bed, like Adèle and Emma on the street, at the bar, at the school gate, in the park, countless affectionate gazes at each other, or Emma staring directly at Adèle's carcass and stroking every inch of her skin on the canvas with a brush. ., It can also contain all kinds of erotic desires apart from lesbian and lesbian.</p>
<p>Kechiche brings all these observations together, as if to spread all possible desires in front of the audience, letting you choose, and replace them casually, without giving an answer. The intention may not be to subvert existing gender power structures (i.e., strong men and weak women, or the lesbian butch-femme stereotype), nor the same as gay rights. Therefore, he did not hesitate to play the role. lesbian eroticism from the perspective of men and attracting women. Activist and lesbian criticism places seemingly friendly elements, such as campus bullying and gay parades due to sexual orientation, into plays, forming interesting and complex contradictions. Or, in fact, the most contradictory aspect of the whole drama is that homosexual love with a blue-haired tomboy artist full of Saudi existentialism cannot escape the stereotypical structure of heterosexual love; Emma finally chooses to accept love of the same sex. structured house, and let go of Adèle who could share the loveliest and craziest sex with her.</p>
<p>However, Adèle's lust was not stagnated or extinguished by who he was with or not. At the beginning of the film, the bedroom is blue. At that time, he had not yet met the blue-haired Emma; then, he lost Emma who was no longer blue haired; At the end of the film, she is walking alone on the street in a beautiful blue dress. It used to be very close, but lust was not enough to sustain love, perhaps it describes the incapacity of lust; but lust is not lost by the passage of love, and in turn also represents the possibility of lust. However, Adèle, who has lost everything, will embrace her beloved Blue and move on.</p>
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