I don’t know the sources of information for the director and the actresses (who are all straight, unless proven otherwise) and I was never consulted upstream. It appears to me this was what was missing on the set: lesbians.
Sure, to me it seems far away from my own method of creation and representation, but it would be very silly of me to reject something on the pretext that’s it different from my own vision. I consider that Kechiche and I have contradictory aesthetic approaches, perhaps complementary. The fashion in which he chose to shoot these scenes is coherent with the rest of what he his creation. Not only are the scenes explicit, but one particular sequence is long - so long in fact we wrote “as it ran on and on we found ourselves escaping the film’s spell a bit and starting to contemplate the spectacle of the flesh in itself.” But for Maroh, her concerns run deeper - here’s what she had to say:
Maroh is the author of the graphic novel that was adapted into Kechiche’s screenplay, and taking to her blog yesterday, she has weighed in on the movie, and in particular the graphic sex scenes that have already caused a stir.
In France, where gay marriage was recently signed into law, ‘Warmest’ only continues the fierce debate around the issue, and weighing in with her own opinion is the woman whose work without which the movie wouldn’t exist: Julie Maroh. But the semi-controversy around the film hasn’t died down. It’s just been a couple of days since Abdellatif Kechiche‘s “ Blue Is The Warmest Color” ( read our review here) walked away from Cannes with the Palme d’Or, with the prize being shared by the director and the film’s stars, Adèle Exarchopoulos and Léa Seydoux.