To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness.
Top reviews from the United States
There was a problem filtering reviews right now. Please try again later.
Reviewed in the United States on September 2, 2018
I know you're supposed to review the actual product, but it's worth pointing out that selecting the Blu-ray option means you get a version that won't play in the US. I missed the unexpected fine print. I believe the disk description actually says it's not supposed to be sold outside of the UK or Ireland so I'm really not sure why is even available for purchase. I'm going to try the multi-format option, but buyer beware.
I rent this movie just so I can recap my thoughts. This is the 2nd time I've seen this film and already I'm still disappointed. When I first watched the trailer, that made me fascinated to go see it. It's so emotional. But turns out the trailer is more emotional and faithful than the actual film. I appreciate the main actresses but the plot made me lost interest. This film is WAAAY too long and tedious (no film should not be made in 2 hours or more. It's absurd); it's no wonder they cut into the lesbian action 4 TIMES and some explicit sex scenes, which I'll get into that later.
Next, there's Adele, the problem of this film. Unlike in the original graphic novel, she was so dull, and unlikable. All I know is that she's into books, and kids. There's also that time she's bicurious after she saw the girl with blue hair, Emma. This made her explore her sexuality; that's something queer viewers and I can relate. However she's into her sexuality so much it made her turned into a total horn-dog. First she went oogling and kissing on a random girl from the school grounds (after she kissed her) and then she made out with a guy AFTER she goes out with Emma. It's so disgusting that Adele gotten so sexually deprived that ruins her own relationship. Emma was a wonderful, wholesome girlfriend and that's what she get? getting cheated on by a man she just met at a preschool. You know, since the film is called Blue is The Warmest Color, I thought blue is a symbolic color of Emma and the warmness of Adele's relationship. But NOPE not in this adaptation. Instead Adele is being used as a typical teenage girl who went through sexual depravity while being used a sexual object throughout the film. The shooting scene on her butt and her big, plumpy lips multiple times is so unnecessary.
And then there's the infamous lesbian sex scenes. Those are one of the things that made this movie so memorible unlike almost every other scene. It went from Adele and Emma spending time with their parents and each other and then BOOM! Sex scene. And that's what in a nutshell throughout the whole movie. It's like a pattern. School. Sex. Family. Sex. Party. Sex. There's just not enough chemistry and yet they have to show this sex scenes 3 times. Not to mention they're so long. Not even a porno would take this that long. If this is a sign that there's few chemistry and more sex scenes, this has shows that this film is fetishizing lesbians. The director (who is a man and presumably straight) even knew that this is intentional even though that's not what's not what's in the original graphic novel. I find this disgustingly insulting. The original graphic novel is really tragic but at the same time, it's wholesome. It was bittersweet especially when it comes to Adele and Emma's relationship. It even showed that Adele's partner died yet that didn't stop Adele and her love. But in the film, Emma is alive even at the end. She ends up selling art galleries with her presumed girlfriend while Adele walks out the art gallery and lives onto her relationship status as single. This movie went worse the longer I watch. I wish I wanted to love this film like any critic but I don't. I don't like it then and I don't like it now.
Also for a fact that not only this director is a disgusting pig for fetishizing lesbians but he also (allegedly) mistreated his own workers especially on the main actresses who played Adele and Emma. This film is nothing but catering to (heterosexual) men instead of subverting expectations to the whole audience especially for those who are LGBTQ+. You can even tell that Adele and Emma are both attractive so it made sense he's using them as objects for the horny straight male demographic. Now since I'm done watching this terrible film I'll be waiting for my graphic novel to deliver so I enjoy reading and being tortured by boredom and fetishization.
Reviewed in the United States on February 25, 2016
I love this movie. In every way possible I can express. It allows you to grow a heart of love, feel the power of enthrallment, teaches (perhaps for the first time) what intimacy is all about in countless ways, and yet shows you that unrepentant cruelty exists in the world.
This is a spoiler alert. If you’ve not seen this movie, you definitely need to do so. But don’t read the rest of this review because it is going to dissect just one scene in its entirety, which will ruin the experience for you. Just so you know, the scene in question is the single most powerful performance in the theater I’ve seen since Jack Nicholson’s Col. Jessup gave his YOU CAN’T HANDLE THE TRUTH speech (which incredibly took just one take). It’s that powerful. I memorized Jessup’s entire speech because of the unyielding belief in self-righteousness expressed by Colonel Jessup.
So here it is. I’m assuming you’ve seen the movie, so no set-up is given. Adele (magnificently portrayed by the most beautiful Adele Exarchopoulos) is driven home from a party by a male teacher. The first clue something is amiss is she directs him to drop her off at the wrong door, telling you she doesn’t want him to know where she lives. She then walks down the block and enters the home she shares with Emma where she is immediately confronted. Already, you can see Adele’s face grow troubled, as her face is an unvarnished window into her soul this entire movie. (There has rarely been an intro into the cinematic world as sublime as that given by the divine Exarchopoulos.) It is as if she is playing herself, and the movie is so wonderfully acted, it becomes impossible to know exactly where the actress herself ends and the character she portrays begins.
When confronted, she first lies. But Emma is too worldly, with too much sexual experience and indeed power, to be fooled. Emma pushes, and pushes, and still pushes more, until Adele is forced to admit it was a man, not a woman, who dropped her off. Pushed more still, she admits it’s true, that she did have sex with him. But here is, in my opinion, the cleverest line of the movie. “Maybe two or three times” she admits to under forceful attack.
But look at that line for a second. Had she said just once, she could have explained it away as “mere self exploration”. Emma is well aware that Adele had sexual congress with a male just once in her life, around age 16, many years ago, and may have accepted that explanation as a one off issue. This possibly could have saved Adele. That she instead admits it was more than once, means she is sure to face a harsh penalty.
Two or three times? Not possible. Why? Because if true, she would remember exactly how many times it was. Twice everybody remembers, and three, again, she’d know that too. So, in fact, she’s admitting to five or more when the mind starts to grow fuzzy in the count, and Emma is smart enough to know that. That’s why she stops pushing to find the exact number, because the damage is now done and cannot be walked back.
But the flaw here for Emma is that she, too, cheated. As you may recall, when they’re on the park bench talking much earlier in the story, she admits to being in a relationship for about two years, with Sabine. Shortly after that (a week?) comes the first love scene, which by all accounts, happened before Emma ended her prior relationship. It is this hypocrisy which makes her actions here the more cruel to Adele.
Now that Adele has admitted the infidelity, she can no longer parry Emma’s rapacious attacks. Emma, being stronger, more worldly, and older by about six years, is in every way the more powerful of this unequal couple in mind and body, except in the love they deeply hold for each other.
The acting here is incredible. I can FEEL Adele’s shame at her transgressions. I can TASTE Emma’s anger: I can SEE the relationship, within the briefest of moments, slip away into a verbal slugfest in which no one can end up a winner. Unable to fight back, Adele is back on the high school sandlot, being attacked by the cabal of bullies, but there, she at least put up a fight. Against the superior Emma, she has no defense. Her face is vivid in details of her destruction. You can see her body back away slightly, as if the vitriol being leveled against her has heft, has a weight of its own, and her body cannot withstand the blows. She has lost her will, and it’s terribly painful to watch in every way. My wife cried during this portion.
The cruelty with which Emma attacks is startling. Always seen as loving and tender, especially during her drawing sessions of her muse, she has replaced her gentle stroking brush using words as rapiers, which stab at her lover’s heart, and intensively so. Repeatedly. She gives no quarter, and as quickly as it started, it is done, as is their love. She hits Adele in a manner that so startled me, I felt the blow myself, and it hurt. Adele is lost beyond words.
Adele is like a young girl in the ocean, standing alone without a mother to guide her as Emma had guided her through the initiation of their love. A wave knocks her off her feet. She struggles, becomes upright, only to be knocked over again, and again. She ultimately becomes exhausted, and without help to set her upright, she lays in the water, smothered with the fury of the ocean, as it sucks her deeper down with a vengeance. There is no escape, and she must finally accept the fact that for some reason, fair or otherwise, she has lost this battle and the only response is to drown slowly in the sorrow of a life seemingly lost to indiscretion.
When Emma physically removes Adele from the home, she slams the door so hard, the window bursts. This is done with great effect and is a masterstroke. It’s not glass breaking. Rather, it’s a relationship that is gone, and like the glass metaphor, it cannot be repaired, only replaced (which Emma does with her pregnant friend). Adele cries to be let back in, into the apartment and the life and arms of the woman she still loves, but there is no swaying Emma, and the entreaties go unanswered.
I don’t speak French. For this scene, you don’t need to, nor need subtitles. Everything they say is conveyed in their body interpretation of what their mouths are saying. I stopped reading the subtitles, dazzled by the flying French and the expressions they elicit. Some things simply don’t need translation.
Adele never went back to the place where her love was extinguished, either afraid of what she might find or hear, or realizing there was nothing she could do to calm the hurricane that has wiped her lover’s beauty off the map. When they meet at the diner, about three years later (we know that due to the age of the children she had with the lover who was pregnant at her graduation party that Adele did all the work for), we see two former friends, and the rest is beyond the scope of this review.
The book upon which this is based has not Adele, but Clementine. Why the name change? I suspect because once Adele Exarchopoulos was selected for this part, they wanted her to BE the Adele she was portraying. Studies show that even in obtunded individuals, brains respond to often just one thing, and that’s their own spoken name. It's engrained into our psyches. By calling Adele by her real name versus Clementine, she BECOMES Adele, and that is very powerful.
I believe the director, who was apparently difficult to work with (but worth the effort), has taken every trick out of his playbook to turn a book, which has a different ending, into a masterstroke of a movie. The acting is so real, at times I felt as though I were watching a documentary about love, lust, voracious passions, cruelty, abandonment, and every emotion in between.
My wife and I are still discussing this movie five days later. It’s that powerful.
If you are going to see one movie this year, this is the one to see.
One last comment. The intimate scenes, the first of which lasts approximately 10 minutes, are not gratuitous in any manner. They are integral to this story of girl meets girl, girl comes out, girl finally loves girl. They convey how tender, powerful, forceful, sweaty and even how much work love takes. It is artistic beyond words. At times, I was wondering where one or the other women had disappeared to, only to realize their bodies were intertwined in loving embrace, making them become one where two had previously existed. To call this pornography is to call Michelangelo’s David “just a sculpture”. It is beautiful to watch, and is something you can’t help but wish you had in your very own life. Sadly, few do. And that’s the real shame here, because in the end, neither do Emma or Adele.
This type of experience comes along so rarely, it is to be treasured. I will watch it over and over in the coming years.
Reviewed in the United States on November 16, 2019
An intelligent and very hot love story. The lead actress is outstanding, the other one slightly less believable but perhaps even more charismatic. At times I felt it dragged: scenes of the protagonist teaching kindergarten or talking and dancing at a party went on longer than seemed necessary or interesting. I think some people like that, the realism of it, but I got bored at times.
I wasn’t sure what to expect from this film. My husband had been addicted to the song ‘I Follow Rivers’ in his early twenties, which is featured in a scene. Having played it for me on YouTube for me, i became addicted to it too and I was intrigued by clips from the film. This led me to track it down and I was able to find it. It’s all in spoken French. Reading subtitles has never been a problem for me. The acting is very realistic and the relationship between the main characters is beautifully played out and intense. It gave me an insight into how conflicted and difficult it must be to come out as gay. How important it is to honour who you are and how important communication is in relationships, and not taking your partner for granted. I loved the synchronistic magical way the women meet. It gives the feel of something fated or destined. The film also explores the way our choices led to serious consequences and how we sometimes make decisions that do not honour our hearts when we follow our minds or feel insecure, especially when our emotional needs are not being met.
Reviewed in the United Kingdom on November 3, 2018
I loved this film and even at 3 hours I didn't find it too long at all. There are terrific performances from the two lead actresses - Adele Exarchopoulos in particular is a revelation. I'm surprised at some of the comments that the sex scenes are too long and too graphic - really, they're not and the film isn't gratuitous in any way. Sure, there's graphic sex, but it's sensitively handled and within the context of the film it makes complete sense to include those scenes.
5.0 out of 5 starsVon einer Liebe, die sich überirdisch anfühlt...
Reviewed in Germany on March 25, 2019
Das französische Liebesdrama „Blau ist eine warme Farbe“ von Abdellatif Kechiche aus dem Jahr 2013 erzählt von einer leidenschaftlichen lesbischen Liebe und wurde in Cannes mit der Goldenen Palme ausgezeichnet.
Die Geschichte begleitet die in der ersten Hälfte noch 15-jährige Schülerin Adèle (Adèle Exarchopoulos) bei der Entdeckung der eigenen Sexualität, ihrer Sehnsüchte und Vorlieben. Mit unschuldiger Unsicherheit, aber auch aufgeweckter, nervöser Neugierde geht sie auf die Suche. Nach der ersten sexuellen Erfahrung mit einem Jungen von ihrer Schule stellt Adèle fest, dass dies in mehrerer Hinsicht wenig erfüllend war - und so hat Adèle nicht nur andere Interessen und Sichtweisen als ihre gleichaltrigen Mitschüler, sondern träumt nachts von sexuellen Begegnungen mit einer unbekannten Frau mit blauen Haaren, der Kunststudentin Emma (Léa Seydoux) , einer zufälligen Begegnung auf der Strasse. Adèle kann an nichts mehr anderes denken und beschließt sie zu finden, was ihr zufällig in der Nacht in einer lesbischen Bar gelingt und die beiden sich daraufhin schnell näher kommen....
Auffallend im Spielgeschehen sind sicher die sehr intensiven Liebesspiele in dieser Länge, eigentlich schon einem Soft-Porno gleichkommend. Mich störten die Sexszenen zwar nicht, aber als Zuschauer bräuchte ich sie auch nicht in dieser expliziten Form, auch, wenn klar hervorgeht, dass sie Teil der Geschichte sind, die die sexuelle Seite der obsessiven Liebe Adèles zu Emma zum Ausdruck bringen soll. Aber das hätte ich auch verstanden, wenn man sich dem nicht so ausführlich gewidmet hätte. Vor allem kann ich nachvollziehen, dass das für die beiden jungen Schauspielerinnen eine Erfahrung war, die sie an ihre Grenzen brachte, da sie auch, nach eigener Aussage, nicht mehr mit dem Regisseur arbeiten möchten. Es heißt, Kechiche habe einzelne Szenen bis zu hundertmal wiederholen lassen. Mir kommt es manchmal auch so vor, dass es da eine Art „Authentizitäts"-Wettkampf unter manchen Regisseuren gibt, besonders was die gezeigten Sexszenen betrifft.
Aber die Sexszenen bleiben nur ein Nebenschauplatz der Handlung , für mich jedenfalls (weiblich-hetero ;). Der Blick geht doch weit hinaus übers geteilte Bett. Drei Stunden lang folgt man vor allem Adèle bei ihrem sexuellen Erwachen, dem Glück mit Emma und der Suche nach sich selbst. Eine Suche, die geprägt ist von der unterschiedlichen Vorstellung der Selbst-Verwirklichung. Und auch von dem schwierigen Drahtseil-Akt, mit Menschen mitzuhalten, die einem freundlich begegnen und doch eine ganze andere Sprache sprechen.
Erstaunen. Faszination. Liebe. Diese drei Dinge scheint Adèle zu durchleben, als sie Emma begegnet. Erstaunen, als sie ihr das erste Mal über den Weg läuft. Faszination, als sie sich das erste Mal richtig mit ihr unterhält. Liebe, als sie das erste Mal diese prickelnden Gefühle entwickelt.
Nun weiss sie es genau. Es sind Frauen zu denen sich Adèle hingezogen fühlt. Es ist Emma der sie nahe kommen möchte. Die erste Liebe. Nichts ist so aufregend und so schön. Man erforscht, man lernt, man liebt. Und auch das tut Adele. Sie gibt sich Emma ganz hin, sie ist glücklich. Doch auch die erste Liebe hat ihre Tücken. Vielleicht fällt es dem Zuschauer vor Adèle auf oder Adèle möchte es einfach nicht wahrhaben. Aber sie und Emma sind unterschiedlicher als man denkt.
Hilflosigkeit. Bedauern. Verzweiflung. Auch das durchlebt Adèle mit Emma. Denn auch die erste Liebe ist nicht für immer bestimmt.
Was die beiden Hauptdarstellerinnen hier offenbaren ist eine Schauspielkunst die man selten erleben darf. Adèle Exarchopoulos IST Adèle. Sei es das Zupfen an ihren Haaren oder wie sie die Spaghetti verschlingt. Sei es wie sie Emma anblickt oder wie sie weint. Man spürt in den vorsichtigen Blicken Adèles jederzeit den Kampf von Zurückhaltung und Begierde, von Unsicherheit und Neugier, von Unschuld und einer kessen, frechen Herausforderung und letzlich zeigen diese Blicke auch den Übergang eines jungen Mädchens zu einer jungen Frau. Léa Seydoux IST Emma. Emma, die Gefühle in Adele weckt, welche diese bis dahin nicht kannte. Emma, die mit ihren blauen Haaren eine neue Farbe in Adèles Leben bringt. Emma, die einem zeigt, wie schön Blau sein kann.
„Blau ist eine warme Farbe“. Selten ist ein Film so intim wie dieser, selten so ehrlich.
I purchased this due to reading rave reviews and it was Bafta nominated and all the 5 stars it has. OMG!!! OMG!!! OMG!!! I have never seen such boring junk in my life,seriously whomever gave this a review of 5 stars needs help fast. The main lead played by Adele Exarchopoulus whom played Adele a 15 year old schoolgirl whom encounters a blue haired girl (played by Lea Seydoux) after visiting a Gay bar after being taken there by one of her Gay male friends and she starts a lesbian relationship with. I found the sexual aspect of their relationship was moree "art house" then anything and was put in for no other than "Padding out" the length of the film and was rather pointless in the depiction of the two girls relationship. Sorry folks but for me this 173 minute film was 170 Minutes too long and this has gone into my throw out pile