What’s left is a relationship drama of uncommon scope and ambition, set apart by its idiosyncratic form and its frank treatment of gay experience in its chronicle of two young women in and out of love over six years. Forget, in short, all the baggage Blue Is the Warmest Color accumulated as it rolled down the festival circuit and slowly evolved from a movie into a cultural event. Forget the stories of Abdellatif Kechiche’s grueling working methods, the highly public feud that’s developed between the director and his two gifted young stars, the objections of Julie Maroh-who wrote the graphic novel on which the movie is based-and the MPAA’s predictable choice to assign the film an NC-17 rating. Forget, if you can, the post-Cannes hullaballoo surrounding the film’s hotly debated gender politics.
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