Blue Is the Warmest Color, don't make it gray

The film Blue Is the Warmest Color does not need defense. Art itself doesn’t need lawyers or any kind of defense. The artist’s biggest mistake is not his or her art, but the defense of his or her art. No art can be wrong. After the creation, the artist must disappear from the frame of his or her creation. The artist should invest his or her time in his or her next creation.

Blue Is the Warmest Color is going to make you feel lips on your skin— this sensation after watching a work of art, and if I am pressed to identify one or the best accomplishment in this movie, is the best in the film.

Again, only the viewer can judge, but for sure the creators of this film should have never responded to any opinion or sensation created by the film. The great taste that the film left on me vanished when the creators, defensively, tried to recreate the film in front of critics trying to make their living, which leads to a misinterpretation of the film.

The film illustrates the relationship of a french couple, teen girls find their place within their skin and in the world. Their rise and fall of their love follows the extension of love itself. Are these characters: lesbians, artists, young people exploring their feelings and their acts…? Who cares? The film grasps the moment of the affair of these two beautiful women. That’s all.

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The film does not have a biased opinion toward lesbianism because at the end, actually, Adele betrays Emma with a man.

But to say the film is just a film, as their creators have said trying to dodge any controversial question, is just ridiculous and put the film in the defensive side, when it actually has a very loud and clear voice.

Neither should I have written this defending the movie, although I make more sense than the creators of Blue Is the Warmest Color. If Blue Is the Warmest, its creators made the film gray.