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Yes, That's the Blond Chick from Mission Impossible: Ghost Protocol
Kechiche has achieved what Sofia Coppola has been trying to pull off her entire career: A movie that doesn't feel like it was written. Don't worry, I still love Sofia. But lets not compare 'Blue is the Warmest Color' to her; lets compare it to 'Blue Valentine.' Both narratives follow a romantic endeavor from conception through gradual decay. But 'Warmest Color' is more effective because it features in chronological order - making the break-up scene much more jarring. Both films maximize the full potential of method acting. However, Kechiche one-ups every other director by filming the actors eat while they're actually hungry. Like 'Valentine,' 'Warmest Color' gets its point across through undercurrent and subtext. Adele and Emma are characters that exist in their own right (albeit fictionally) rather than as plot vessels. The filmmakers took a massive risk by replicating reality rather than adhering to story structure: And it paid off!
A common complaint about 'Warmest Color' is that it's too long and yes, I do agree that the editing could use tightening up. But this flaw is forgivable because the film has migrated as far away as one can from cinematic convention while still being entertaining. On a personal level, I had a bit of trouble appreciating the story because the director's signature greatly overshadows every other aspect of the film. It's hard not to appreciate his refrain from using dolly and crane shots; the absence of makeup; and the shallow focal depth of the his lens which so delicately depicts Adele's solitude.
Few films linger in one's mind long after initial viewing: Fewer films convey discomfort without alienating the viewer. With that said; 'Blue is the Warmest Color' is a masterclass on low-budget production value. I give it 9/10.
On a side note: Lea Seydoux looks fabulous as a butch with short blonde hair.