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Dust off the barbecue as forecaster predicts warmest weekend yet

28 March 2014 11:41:44 UK headlines

Temperatures could hit 20C (68F) in some inland parts, but despite sunshine, beaches could still be a little too breezy for sunbathing        

Vice All News Time28 March 2014 11:41:44


UK enjoys early spring weather with warmest day of the year

24 February 2014 19:36:20 UK headlines

Britain enjoys unseasonably warm temperatures and spring weather after storm misery        

Vice All News Time24 February 2014 19:36:20

The movie magic behind the scenes

23 February 2014 02:38:51 BBC News - UK

Behind the scenes at the special effects firms revolutionising film

Vice All News Time23 February 2014 02:38:51

Photos show weather difference after warmest December for 25 years

23 January 2014 03:47:31 News | Mail Online

Last month was the warmest December since 1988 and the unusual temperatures have continued into January, in stark contrast to this time last year when much of the country was blanketed by snow.

Vice All News Time23 January 2014 03:47:31

A blue Coca-Cola logo and Google written in purple? New illustrations prove how attached we are to big brands' signature colors

14 November 2013 04:30:59 News | Mail Online

New illustrations by a Brazilian artist show how much big brands like Google, Coca-Cola, and McDonalds rely on the signature colors in their logos.

Vice All News Time14 November 2013 04:30:59

Army at scene of security alert

25 October 2013 01:41:52 BBC News - UK

Army bomb disposal officers are at the scene of a security alert in north Belfast.

Vice All News Time25 October 2013 01:41:52

Cardiff Blues 19 Toulon 15 : match report

19 October 2013 18:09:13 Sport

Cardiff 19 Toulon 15: replacement Gareth Davies scores winning try with three minutes remaining to spark joyous scenes.        

Vice Sport Time19 October 2013 18:09:13

UK summer warmest for seven years

31 August 2013 03:26:10 BBC News - UK

The UK experiences its warmest, driest and sunniest summer since 2006, Met Office figures show, but while above average was not exceptional.

Vice All News Time31 August 2013 03:26:10

July was second warmest on record

08 August 2013 01:08:18 BBC News - UK

The Met Office confirms that last month was the second warmest July on record in Scotland, but rainfall was about average.

Vice All News Time08 August 2013 01:08:18

As heatwave returns experts reveal July was warmest in seven years

31 July 2013 21:43:26 UK headlines

July was the warmest, driest and sunniest since 2006, records show, as the heatwave briefly returns with temperatures forecast to rise to 90F (32C).        

Vice All News Time31 July 2013 21:43:26

The Color Purple: devils and dirty linen

16 July 2013 20:41:04 Film |

As the stage version of The Color Purple arrives in Britain, writer Candace Allen recalls the upset and uproar the novel caused among African Americans The first page took your breath away: a mortified 14-year-old girl has started writing letters to God because she can tell no one else that, although "he never had a kine word to say to me", "he" [her putative daddy] has raped her and warned that she "better … git used to it". Page two, letter two: her mama dead and she "big" with her second baby. He "kilt" the first. "Kill this one, too if he can." Letter three: the letter-writer has a little sister she will protect "with God help". Letter four: sister Nettie has a friend named Mr ___. Letter seven: Mr ___ wants to marry Nettie but he carries a picture of a beautiful, worldly woman named Shug Avery in his wallet. The letter-writer is mesmerised by Shug Avery. We in turn are mesmerised by the letter-writer's pitiable but profoundly perceptive, truthful voice. "Negro dialect", now called "folk speech": we might not have been ready for it before – thought it ignorant or demeaning, some of us – but we're ready for it now. This voice is clear, simple but not simplistic, allowing us no escape. Letter eight: Mr ___ will marry the letter-writer instead of Nettie, not because he likes her, but because – stupid and ugly as she is – she'll be a good worker. And she finally reveals her name. She is Celie, embarking on a 40-year journey that will take her from bewilderment, through degradation, bestowed and reciprocated love, to self-love and personal agency. The Color Purple , a simple yet intriguing title, was published in 1982. Alice Walker, the eighth child of southern sharecropping parents, was 38 and already the author of three poetry collections, one volume of essays, two previous novels, and an editor of Ms. Magazine, the women's movement's well-financed and glossy American mouthpiece . In other words, she was not unknown to those of us who cared about the African-American female literary voice. Nor was the novel's terrain an unacknowledged world: a candid exploration of sometimes toxic relationships between black men and black women, the struggle of black women for self-appreciation and personal power. We had read of this in Zora Neale Hurston and Carlene Hatcher Polite, in Gayl Jones and Toni Morrison, heard it sung in countless blues as well as the poetry of Sonia Sanchez and Ntozake Shange to name but a few. But Walker's track record and The Color Purple's singular clarity made the outside (white) literary establishment take notice. In 1983, Walker became the first African-American woman to win both the Pulitzer and National Book awards for fiction, amid all hell breaking loose. What Walker has defined as "womanism" caused an uproar in many corners of the African-American establishment, full of indignance at what was judged her "negative imagery" of the black male, the black family. We had been this way before, with Ntozake Shange's For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf in 1976, with Michelle Wallace's Black Macho and the Myth of the Superwoman in 1979, and with Toni Morrison's The Bluest Eye and Song of Solomon: creatively gifted and politically engaged African-American women dismissing black activist Stokely Carmichael's diktat that the "only position for a woman in [the revolution was] prone", and resisting the communal adage against airing dirty linen in public. Morrison, exploring black female truths, refused to engage with this nonsense, kept her counsel and kept right on stepping, while the younger, more vulnerable Shange and Wallace were deeply wounded by the abuse; but this time, with The Color Purple, white folks were taking closer notice than they had before, awarding prizes, giving mainstream showtime. Some in the black community maintained that the only reason Walker and the rest of these women were getting this recognition was the white man's glee in the black man being put down. Better that its women remain invisible if this is all they had to say. Where were their loyalties? Smouldering coals reignited two years later with the release of Steven Spielberg's film . It was the director's first "serious" drama, and to my mind referenced almost every known Hollywood coon cliche, from the Harlem sitcom Amos 'n' Andy to sultry sexpot mulattos, while treating Whoopi Goldberg's Celie as ET's equally alien first cousin, and simply ignoring the book's many subtleties in regards to Africa, the will and road to power, and unapologetic woman-to-woman love. Yes, it was a film, but this was supposed to be The Color Purple, not some Hallmark greeting card. However, out in hinterlands, black women, seeing themselves on screen with sympathy and dressed in dignity, came in their droves. The film's success laid the groundwork for the still soft but more mature stage version, which I saw on Broadway in 2005 – not least because Oprah Winfrey, who played Sofia in the film, is one of the musical's primary producers and her huge audience its primary target. Rereading the book for the first time 30 years on, as the story appears on the London stage , I am struck by its elements of fable: though dangerous and demeaning white folk lurk just beyond its trees, its black community is sturdily prosperous and self-sufficient, its God manifest in colourfully abundant nature. I am struck, too, by its subtle discussion of the African-American relationship with our homeland, by the simple metaphor of Celie's folk pants, comfortable and flattering regardless of the shape and gender of the wearer; and by its ultimate generosity of spirit. For in the end, Mr ___ is redeemed in the manner Celie is redeemed, via self-discovery, self-acceptance and a willingness to let love just be – rather than try to control it, and the world. • Candace Allen is the author of Soul Music: The Pulse of Race and Music . Theatre Alice Walker Fiction Pulitzer prize Awards and prizes National Book Awards

Vice All News Time16 July 2013 20:41:04

The Color Run: the happiest 5km ever – in pictures

14 July 2013 23:14:06 Football news, match reports and fixtures |

Dubbed the happiest race on the planet, the Color Run is a 5km race in which runners get covered head to foot in powder paint, creating kaleidoscopic scenes Jonny Weeks        

Vice All News Time14 July 2013 23:14:06

The Color Run: the happiest 5km ever – in pictures

14 July 2013 22:58:11 Sport news, comment and results |

Dubbed the happiest race on the planet, the Color Run is a 5km race in which runners get covered head to foot in powder paint, creating kaleidoscopic scenes Jonny Weeks        

Vice All News Time14 July 2013 22:58:11

After the liberation: UNPUBLISHED color photos of American troops posing happily with liberated Europeans after Allied Forces defeated the Nazis in World War II

24 June 2013 03:20:34 News | Mail Online

Unpublished color photos taken by LIFE magazine’s Frank Scherschel capture countless vivid moments in newly-liberated France after the historic and bloody D-Day invasion in 1944.

Vice All News Time24 June 2013 03:20:34

Behind the scenes at Royal Ascot

24 June 2013 00:24:39 BBC News - UK

BBC Sport's Frank Keogh goes behind the scenes at Royal Ascot

Vice All News Time24 June 2013 00:24:39

Close up: Cannes concludes

30 May 2013 18:49:28 Film |

Catch up with the last seven days in the world of film The big story At the risk of overkill, it's Cannes. Again. On Sunday night, in a s wanky ceremony in the Palais du Festivals , the Palme d'Or was conferred on Blue Is the Warmest Colour by Steven Spielberg and his jury. The decision was a popular one, both inside the hall and among the critical fraternity – at least, our critic, Peter Bradshaw, thought they got it right . One person who differed was Julie Maroh, the author of the graphic novel it was based on, who accused director Abdellatif Kechiche of reducing her work to pornography. Peter, though, vehemently disagreed – here's what he wrote in response . In the news Anton Corbijn to shoot James Dean biopic, Life Sam Mendes in talks to direct Skyfall followup Rituparno Ghosh: Indian film director dies age 49 Eric Roberts to star in The Human Centipede 3 Werner Herzog directs 'don't text and drive' public safety advert Blue Is the Warmest Colour sex scenes are porn, says author of graphic novel The Flintstones wrestle their way back to big screen Tom Cruise deems Man from UNCLE a mission too far Zach Braff's Kickstarter campaign closes on $3.1m On the blog Sam Mendes: why James Bond is right to wait for the Skyfall director Internet memes that most deserve their own movie Reel History: In Primary Colors, fiction takes second place to fact Blue Is the Warmest Colour is too moving to be porn Populaire success: the Weinsteins' ambiguous magic Clip joint: the top five movie scenes featuring cassettes Cine-files: The Caligari, Wiesbaden, Germany Fast & Furious 6 races ahead as The Hangover Part III crashes and burns Watch and listen Doctor Who: watch six clips from 1960s movies – video Last Vegas trailer: The Hangover meets its match? Sydney Film Festival 2013 - video preview Populaire: watch Bérénice Bejo in a clip from the French comedy The Hangover Part III: Bradley Cooper, Zach Galifianakis and Heather Graham - video interview Video on demand When China Met Africa Directors Marc and Nick Francis follows various Chinese enterprises underway in Zambia – from large-scale roadbuilding to small-scale crop-growing – and underscore the uneasy relationship between the two. Watch it on demand here . The Monastery: Mr Vig and the Nun An award-winning film about a millionaire who wants to establish a Russian Orthodox religious order in his castle. Watch it on demand here . The Punk Syndrome: watch the film on demand An upbeat documentary about a punk band from Finland, whose members are all learning-disabled. Watch it on demand here . • For more of the best independent, cult or classic films and documentaries chosen by Guardian Film, keep an eye on the Guardian screening room Further reading Viggo Mortensen interview: 'If I think a film's beyond me – that's a good sign' Shane Meadows on the Stone Roses film: 'This is the closest thing to a love letter I've ever made' Paul Bettany: 'Lars von Trier simply wouldn't talk to me' The Big Wedding: not even this cast could save such a weak script Saoirse Ronan: 200 years young And finally Follow us on Twitter Like us on Facebook © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

Vice All News Time30 May 2013 18:49:28

Blue is the Warmest Colour translation hurried into print after Cannes victory

30 May 2013 15:50:36 Film |

Publication of graphic novel's English version brought forward in wake of film version's film festival triumph Small Canadian publisher Arsenal Pulp Press is pushing forward publication of its English translation of French graphic novel Le bleu est une couleur chaude following the triumph of the film version of the story at Cannes this weekend – the first adaptation of a comic ever to take the top prize at the film festival. The story of a passionate lesbian romance, Julie Maroh's graphic novel was published by the Belgian graphic novel press Glénat in 2010. An English language version, titled Blue Angel, was originally due out in November, but after the film adaptation Blue is the Warmest Colour won the Palme d'Or in Cannes on Sunday , Arsenal Pulp is now readying the translation for publication in September. "[We] are indeed expecting lots of interest," said publisher Brian Lam. "We were first approached by the agent of the original publisher Glénat a little over a year ago; she thought we would be interested in it given our interest in LGBT and graphic novel titles. We appraised it and found it to be a profoundly moving coming-of-age story with beautiful artwork; at the time, we didn't know a film was involved." Arsenal Pulp signed the book up in October 2012. "By then, we were told the film was in production and that the producers hoped to submit it for consideration at Cannes. We were thrilled but not entirely optimistic; after all, who doesn't want to have their film at Cannes?" said Lam. "We were amazed, then, when at the end of April we learned that the film was accepted into the official competition, only to have word-of-mouth quickly build, leading to the stunning Palme d'Or win last Sunday." Associate publisher Robert Ballantyne added: "We are thrilled for the filmmakers, for Julie and her French publisher, and very excited for the impact this great story will have for LGBT culture and politics wherever it appears. It is a graphic novel worthy of the highest praise and broad translation." Maroh herself wrote on her website that she was "absolutely overwhelmed, amazed, and grateful" for the "wonderful and breathtaking" win in Cannes. "Last night I realised this is the first time in cinema's history that a comic book had inspired a Palme d'Or movie and this idea petrified me," she wrote . "It's a lot to carry." When writing the graphic novel, said Maroh, she didn't set out to "make a book in order to preach to the choir, nor only for lesbians". "Since the beginning my wish was to catch the attention of those who had no clue, had the wrong picture, based on false ideas, hated me/us," she said. "I'd like that myself, those that I love, and all the others, would no longer be insulted, rejected, beaten up, raped, murdered … because of our differences. Everyone had the opportunity to interpret and identify freely with the book, but I really wanted to clarify my intention with it, once again. But it also served to tell a story of how a romantic encounter happens, how a love story builds, collapses, and what remains of the love that was awoken after a breakup, a mourning, a death. This is what [film-maker Abdellatif Kechiche] was interested in. Neither of us had a militantly activist intent." Maroh did, however, criticise the film's explicit sex scenes , saying they brought to mind "a brutal and surgical display, exuberant and cold, of so-called lesbian sex, which turned into porn, and made me feel very ill at ease … I lost the control of my book as soon as I gave it away to be read. It's an object meant to be handled, felt, interpreted." Comics and graphic novels Fiction Cannes 2013 Cannes film festival Alison Flood © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

Vice All News Time30 May 2013 15:50:36

Blue Is the Warmest Colour sex scenes are porn, says author of graphic novel

30 May 2013 15:19:01 Film |

Author of source material, Julie Maroh, expresses disappointment at absence of lesbian actors in Kechiche's adaptation and describes lesbian sex scenes as 'ridiculous' The author of the graphic novel which formed the basis of Cannes-winning film Blue Is the Warmest Colour has labelled the film's lesbian sex scenes "ridiculous" and compared them to porn. Julie Maroh, creator of the award-winning 2010 comic Blue Is a Warm Colour which film-maker Abdellatif Kechiche drew upon for his Palme d'Or winner, said she had been keen to allow the director to take his own path with the material without interfering. But she nevertheless emerged from a screening feeling uncomfortable about the film's potential for titillation. She also found herself particularly disappointed at the absence of lesbian actors from the set. "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," she wrote in a blog post . "Maybe there was someone there to awkwardly imitate the possible positions with their hands, and/or to show them some porn of so-called 'lesbians' (unfortunately it's hardly ever actually for a lesbian audience). "Because – except for a few passages – this is all that it brings to my mind: a brutal and surgical display, exuberant and cold, of so-called lesbian sex, which turned into porn, and [made] me feel very ill at ease. Especially when, in the middle of a movie theatre, everyone was giggling. "The heteronormative laughed because they don't understand it and find the scene ridiculous. The gay and queer people laughed because it's not convincing, and [they] found it ridiculous. And among the only people we didn't hear giggling were the potential guys [sic] too busy feasting their eyes on an incarnation of their fantasies on screen." Maroh continued: "As a feminist and lesbian spectator, I cannot endorse the direction Kechiche took on these matters." Though she also added: "I'm also looking forward to what other women will think about it. This is simply my personal stance." Blue Is the Warmest Colour follows the relationship between two young students in Lille, one of whom has hair dyed the blue of the title. When she reverts to her natural blond, their affair nosedives. The film was a favourite to take the Palme d'Or from the moment of its first screening, and its success was hailed as a sign of the newly liberated times in a country which has just passed laws legalising gay marriage. Ironically, it was the very lesbian sex scenes – one about 10 minutes long – that Maroh found so foolish, which played a fundamental part in its radical appeal to critics and jury members. Cannes 2013 Cannes film festival Festivals Film adaptations Sexuality Pornography Ben Child © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

Vice All News Time30 May 2013 15:19:01

Blue Is the Warmest Colour is too moving to be porn

30 May 2013 15:08:33 Film |

Julie Maroh, as author of its source novel, has unique credentials to comment, but for what it's worth I felt the film's descent into agony and tears took it clear of titillation When Abdellatif Kechiche's film Blue Is the Warmest Colour screened at Cannes last week, its explicit sex scenes certainly made some waves. The story of a passionate love affair between two young women seemed to me to be acted and directed with absolute candour and integrity, though I couldn't help predicting that, as with all sexually explicit movies, some worldly pundit was bound to declare the sex scenes to be "boring". My friend Dave Calhoun of Time Out pointed to one such response . What I didn't predict was a fascinatingly dissentient argument from Julie Maroh, the author of the 2010 graphic novel Le Bleu Est Une Couleur Chaude on which the film is based. She wrote in a blogpost that she found it a straight person's titillating fantasy of lesbian sex: "This is all that it brings to my mind: a brutal and surgical display, exuberant and cold, of so-called lesbian sex, which turned into porn … Especially when, in the middle of a movie theatre, everyone was giggling." She also wrote: "The heteronormative laughed because they don't understand it and find the scene ridiculous. The gay and queer people laughed because it's not convincing, and [they] found it ridiculous. And among the only people we didn't hear giggling were the potential guys [sic] too busy feasting their eyes on an incarnation of their fantasies on screen." Julie Maroh has unique credentials to comment upon and criticise this movie. And she raises important points. A young woman's sexuality, like anything else on the movie screen, is not straightforward and value-free: it is represented and constructed by its creators – in this case, largely, a male film-maker. I myself, along with many others, raised this same point in connection with François Ozon's film Jeune et Jolie , about a teenage woman becoming an escort. Was this just a male fantasy? Interestingly, Ozon's status as a gay man was often raised, defending him against the charge of exploitation. But does the director's personal sexuality indemnify him against these objections? Is it relevant, or a kind of naive hearsay? Julie Maroh's own reaction to the film may well have been coloured by the giggling behaviour of those around her on the day she saw it. But even if the audience remained absolutely silent, her chief objection may well have been the same – that these people weren't "real" lesbians. She wrote: "I don't know the sources of information for the director and the actors (who are all straight, unless proven otherwise) and I was never consulted upstream. Maybe there was someone there to awkwardly imitate the possible positions with their hands, and/or to show them some porn of so-called 'lesbians' (unfortunately it's hardly ever actually for a lesbian audience)." I myself have absolutely no information about the sexual identity of the two actors in this movie, Léa Seydoux and Adèle Exarchopoulos, or how it can be "proven". Newspaper reports, Google searches, even first-person comments such as the ones extant for François Ozon give a misleadingly straightforward view. The "reality" of lesbian identity may be a more complicated, elusive business than the word implies, just as complicated as it is for straight people. The two actors were not really what they were acting – in the same way that the actor playing Macbeth is not really an 11th-century pretender to the throne of Scotland. It is an illusion. They are acting. But in the moment, as Léa Seydoux and Adèle Exarchopoulos acted out those intimate scenes, perhaps there was a spark of something real, more than real: perhaps the fiction had licensed the enactment of some reality that day-to-day existence would not permit. Who knows? For what it's worth I entirely disagree that Blue Is the Warmest Colour is porn. Of course that charge can be levelled against any explicit material, and "porn" is a charge routinely made against anything that looks good: "food porn", "property porn", etc. But the film's sheer uncompromising explicitness took it beyond the level of exploitation or titillation, and what also took it away from porn was its treatment of the unsexy aftermath: the agony, the tears, the arguments, the gloom and the despair. This is the long goodbye – a very unporn goodbye. I didn't giggle at the sex scenes: I found them sexy, passionate and moving, in that narrative order. Julie Maroh wouldn't be the first writer to think that a film treatment of her work is unconvincing, not real, not what was properly intended. Allowing someone to make a film of one's book means surrendering control – though not surrendering one's right to criticise. In the end, the film has to stand or fall on its own terms, and for me it is triumphantly successful. When it arrives in the UK, everyone, gay and straight, can make their own minds up. Drama Film adaptations Pornography Sexuality Peter Bradshaw © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

Vice All News Time30 May 2013 15:08:33

Primary Colors: fiction takes second place to fact

29 May 2013 16:09:51 Film |

This 1998 tale of a sexually voracious presidential candidate was overtaken by real-life events involving a certain Monica Lewinsky Director: Mike Nichols Entertainment grade: B– History grade: D In 1996, an anonymous author (later revealed to be Joe Klein ) published Primary Colors, a roman à clef inspired by the events of Bill Clinton's first presidential campaign in 1992. People The novel of Primary Colors begins with a disclaimer: "this is a work of fiction … None of these events ever happened." Well, all right, but it's not difficult to make out the parallels between winsome, sexually voracious Governor Jack Stanton ( John Travolta ) and Bill Clinton; nor between his ambitious, long-suffering wife, Susan ( Emma Thompson ), and Hillary Clinton. The hair and make-up departments have enhanced the impression, though Travolta's greyed-out eyebrows – and his raspy, Clintonesque southern accent – sometimes veer towards pastiche. Politics Our hero, Henry Burton (Adrian Lester), is the grandson of a civil rights leader who is drawn into Stanton's presidential campaign. His role equates more or less to that of George Stephanopoulos in real life. "Your grandfather was a great man," Susan says to him when he arrives with her husband, who has just missed a golden opportunity to secure the votes of some fly-fishing enthusiasts. "Jack Stanton could also be a great man, if he weren't such a faithless, thoughtless, disorganised, undisciplined shit." Personalities Burton sets up headquarters in a town enchantingly named Mammoth Falls. Stanton's team includes adviser Richard Jemmons ( Billy Bob Thornton ), who swiftly exposes himself to a female campaign worker. When Burton remonstrates with him, he tries to pull rank. "I'm probably blacker than you," he drawls. "I got some slave in me. I can feel it." Reviewers generally supposed Jemmons to be inspired by Clinton strategist James Carville , though the real Carville is nowhere near as gruesome. If you're interested in something closer to the truth of these characters, the 1993 Oscar-nominated documentary The War Room followed the actual relationship between Stephanopoulos and Carville on the Clinton campaign trail. Scandal Like Clinton, Stanton faces allegations about his activities during the Vietnam war – in Clinton's case, avoiding the draft. Then one Cashmere McLeod releases tapes of sexually suggestive conversations between herself and the governor. During Clinton's campaign, Gennifer Flowers came forward with similar accusations. Susan Stanton calls in "dust buster" Libby Holden (Kathy Bates) to help protect her husband's image. "Our Jackie's done some pretty stupid things in his life," Holden growls. "He's poked his pecker in some sorry trash bins." It has been suggested that her character was inspired by elements of Vince Foster and Betsey Wright , Clinton's chief of staff. The latter memorably described the frequent sex scandals buffeting her boss as "bimbo eruptions". Morality After the McLeod bimbo eruption subsides, the film departs from its approximate history of the 1992 primaries. In its final act, Stanton challenges a candidate of seemingly unbeatable perfection, Fred Picker (Larry Hagman), for the nomination. When he finds out that Picker's own past includes mountains of cocaine and dabblings in homosexuality, he must decide whether to abandon his scruples and "go negative" on the campaign. This didn't happen to Clinton. Of course, there is no shortage of politicians hiding colourful pasts in real life. Even so, the Picker scenario feels decidedly more contrived than the parts of the movie that are vaguely based on reality. Release Demonstrating yet again that truth is stranger than fiction, this film came out when a far bigger scandal was consuming Clinton. The 1998 allegations of a sexual relationship with Monica Lewinsky would result in an investigation of Clinton's personal life and impeachment proceedings. By the standards of 1998 Clinton scandals, 1992's bimbo eruptions and a spot of alleged draft-dodging looked tame. Verdict Despite good reviews and some fine performances, Primary Colors didn't set the box office alight – perhaps because the history to which it was trying to allude was overtaken by events. Drama John Travolta Emma Thompson Billy Bob Thornton Bill Clinton Hillary Clinton US politics Alex von Tunzelmann © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

Vice All News Time29 May 2013 16:09:51

Blue is the Warmest Colour: watch a clip of the Cannes Palme d'Or winner - video

26 May 2013 22:05:39 Film |

Watch a clip from Blue is the Warmest Colour, this year's Palme d'Or winner at the Cannes film festival

Vice All News Time26 May 2013 22:05:39

Blue won because it jumpstarts the heart

26 May 2013 21:44:57 Film |

My two regrets of this year's festival are not giving more stars to Abdellatif Kechiche's devastatingly emotional love affair more stars, and that Steven Spielberg's jury had shown more love to Paulo Sorrentino It's been a very good Cannes, crowned with a Palme d'Or which was widely anticipated, and almost yearningly desired by every single person I spoke to at the Festival. Blue Is The Warmest Colour, by the Franco-Tunisian director Abdellatif Kechiche, is a devastatingly emotional film about a love affair between two young women, with unforgettable notes of sensuality and sadness. The award today undoubtedly has a political dimension, whether or not it was intended that way. Same-sex marriage was made legal in France on 18 May, during the festival. This prize happened to coincide with an anti-gay-marriage march in Paris on Sunday.   Fundamentally, what captured the jury's heart in this movie was the same thing that captured every festivalgoer's heart. Quite simply: it was passionate film-making. So much of the cinema we were offered at Cannes was variously stylish, oblique, affectless, shocking, funny — all of which can make and did make for brilliant film-making. But Kechiche offered passion. He offered the great sweep, the great surge, the great rush of love. He wasn't afraid of letting his story play out at epic length, but this narrative substance did not preclude an extraordinary and compelling intimacy. These were remarkable, courageous performances from Adèle Exarchopoulos and Léa Seydoux, who put their trust in their director and carried off demanding, explicit scenes with absolute confidence and integrity. Looking back on Cannes, my one regret is that I gave it just four stars . Its overwhelming emotion stayed in my mind. It deserves five or six stars.   The Grand Prix for the Coens' Inside Llewyn Davis was another very just award. This was a richly enjoyable and fascinating comedy which took on an unfamiliar subject: the early 60s folk scene, and Oscar Isaac stepped up to a starring role, the moody, unhappy singer-songwriter, historically stranded at the end of the pre-Dylan era, considering whether to abandon his musical vocation. The music in the film was superb, and the script was sparkling.   Jia Zhang-ke's screenplay award for A Touch of Sin took me a little by surprise. This is a fascinating movie — one of the best at Cannes — which shows this director boldly moving away from his documentary realism and quietism and experimenting with the brash exploitation drama to satirise China's new cupidity and materialism. I'm delighted to see it rewarded. I have to confess to being a little agnostic about Hirokazu Kore-eda's heart-wrenching child-swap drama Like Father, Like Son which won the Jury Prize and was much admired here generally. I personally found it a little schematic and inferior (though similar) to his earlier film: I Wish .    The huge surprise is the best director award to the Mexican film-maker Amat Escalante for his shocking Heli , an indictment of the cynicism and lawlessness overtaking Mexico. It was indeed a very well-crafted picture with coolly controlled camerawork. I would have preferred to see the directing prize go to the Italian, Paolo Sorrentino .   It's hard to quarrel with the acting awards. Bruce Dern's touching performance as the querulous, sad old guy in Alexander Payne's Nebraska was a reminder of just how great an actor he is. Bérénice Béjo was superbly intelligent and self-possessed in Farhadi's The Past : a complex, subdued role. Many were predicting the Palme itself for this film. The acting prize may have been a jury compromise: but Béjo gives a sophisticated, cerebral performance.   On the whole, these were well-judged awards, closing this Cannes shut with a satisfying click. Cannes 2013 Cannes film festival Peter Bradshaw © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

Vice All News Time26 May 2013 21:44:57

Blue is the Warmest Colour wins the Palme d'Or

26 May 2013 20:11:07 Film |

Abdellatif Kechiche's epic and explicit love story beats the Coen brothers into second place, while Bruce Dern wins out over Michael Douglas for best actor and Amat Escalante surprise victor for best director It was a fitting end to the week in which gay marriage was legalised in France; Abdellatif Kechiche's same-sex romance La Vie D'Adele Chapitres 1 et 2 (Blue is the Warmest Colour) was named the winner of the top prize at the Cannes film festival. The film, which boasts a stunning duo of lead performances, remarkably explicit sex scenes and an enormous running time went into the final furlong as the critics' favourite to take the Palme d'Or. That it made good on its odds meant that the film which preceeded it as top tip – the Coen brothers' Inside Llewyn Davis – went home with the Grand Prix (runner-up prize). These crowning awards formed an icing of convention on a slate of awards dished out by Steven Spielberg's jury that proved mostly notable for its shocks. There was nothing for Paulo Sorrentino's The Great Beauty; a hot tip for something major, and Asghar Farhadi's The Past, rather than taking one of the top three, instead took best actress for Berenice Bejo. Bejo, who played an unstable divorcee, was Oscar nominated for her role in The Artist, which premiered at Cannes two years ago, Bejo is a Croisette regular, even hosting the opening and closing ceremonies last year (this year, the task fell to Audrey Tatou). Bruce Dern was named best actor for his role as an alcoholic father in Alexander Payne's black-and-white road movie, Nebraska. The film – fondly, if not ecstatically recieved on the Croisette – gave Dern his first leading role in many years. It was, he told the Guardian earlier this week, a relief not to be playing "some piece of shit who wants to blow up the Superbowl". Dern was evidently an unexpected winner; the actor himself had returned to the US, leaving Payne to pick up his award. The bookies' and popular choice was Michael Douglas, who turns in a game-changing performance as Liberace in Beyond the Candelabra, Steven Soderbergh's biopic of the pianist, which premiered in the US on HBO just a few hours after the festival wrapped. The biggest surprise of the night was the best director award doing to 34-year-old Mexican director Amat Escalante, whose Heli was a brutal domestic drama set in rural Mexico whose scenes of torture involving a flambeed penis and a strangled puppy looked likely to overshadow its more sensitive, even slyly funny moments of young romance and Bressonian ennui. The jury prize (basically: bronze) went to Hirokazu Koreeda's gentle domestic drama Like Father, Like Son, which didn't overwhelm the critics, but further widened the geographical spread of the awards distribution. This year's festival was widely regarded as a rejuvention after a slightly lackluster spate. The lack of a lock-down winner was also percieved as a plus point; it was the most open competition since Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives took the top prize three years ago. The winner in 2011 – Terrence Malick's The Tree of Life – and Michael Haneke's triumph for Amour the year after went into the closing ceremony as easy favourites. Clio Barnard was the sole British winner; her second film, The Selfish Giant, a gritty coming-of-age tale about Bradford teenagers (rather than any relation to the work by Oscar Wilde) won the Critics Week sidebar, while the Camera D'Or (for best first film) went to Ilo Ilo. More details to come. Cannes 2013 World cinema France Catherine Shoard © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

Vice All News Time26 May 2013 20:11:07

Cannes 2013: Nicole Kidman and Heidi Klum on the red carpet for screenings of Nebraska and Blue is the Warmest Colour – in pictures

24 May 2013 03:17:54 Film |

Cannes 2013: Nicole Kidman joins Heidi Klum on the red carpet for Thursday's screenings of Nebraska and Blue is the Warmest Colour

Vice All News Time24 May 2013 03:17:54

Cannes 2013: Laura Dern joins father Bruce at the Nebraska photocall - in pictures

23 May 2013 21:52:38 Film |

Bruce Dern and Alexander Payne promote road movie Nebraska, followed by the stars of Blue Is the Warmest Colour (La Vie d'Adèle) and Tore's Pogo (Tore Tanzt)

Vice All News Time23 May 2013 21:52:38

Warmest Colour new frontrunner for Palme d'Or

23 May 2013 21:52:38 Film |

Abdellatif Kechiche's latest film has been hailed as a landmark in cinematic depictions of lesbian love and female sexuality A hail of enthusiastic tweets followed the Cannes premiere of Blue is the Warmest Colour – elevating it to the status of the critics' favourite of the festival, and not a moment too long at three hours. It also happens to contain the lengthiest, most intimate and most graphic lesbian sex scenes in mainstream cinema history. Praised for its tenderness and intensity, it has been hailed as a landmark in cinematic depictions of lesbian love and female sexuality. Both lead actors spoke of their trust in director Abdellatif Kechiche over the four-month shoot for the film, including the scenes that, in the opinion of the Hollywood Reporter, "cross the barrier between performance and the real deal". According to Léa Seydoux, who plays the older of the two women, "I succeeded in forgetting that a camera was there." It was a process so intense, and resulting in so much material, "that he could have made a whole lot of other films" with just the rushes, according to Adèle Exarchopoulos, who plays the younger of the two women. According to Kechiche, they regarded the filming of the sexual sections as "a game". "We also had a great deal of fun," he said. "The actors felt they were enjoying themselves – while playing a part, of course." Kechiche's last film, Black Venus , about a 19th-century black South African woman who was exhibited at fairgrounds, was deemed too harrowing and provocative for American and British distributors and so was never released in the UK. The director, best known for his 2007 film, Couscous , said he would be willing to contemplate some cuts in Blue is the Warmest Colour to allow the widest possible audience to see the work. "We wouldn't want the film not to be screened because of one scene," he said, "but of course that wouldn't apply if it were the whole thing". It is, he said "a question of respecting other people's film traditions. In the States there are different ways of portraying love, sex and even violence". Executive producer, Vincent Maravel, confirmed that the film had already sold American distribution rights "and we didn't talk about cutting anything out". The intimate physical scenes come as only one element of a deep study of the relationship between the two young women as it grows from young first love into domesticity. Exarchopoulos, in an already highly acclaimed performance, plays a schoolgirl, also called Adèle, who embarks on a relationship with a boy, Thomas. But she finds herself drawn to Emma, a woman with blue-dyed hair whom she has seen in the street, played by Seydoux. The film was screened less than a week after gay marriage was legalised in France. According to Kechiche, "When I decided to tell this story the particular political context did not exist – we didn't make the film to comply with a given political context. I didn't want to make a militant film that had a message to deliver about homosexuality, but of course it can be seen from that angle, and that doesn't bother me." Unlike so many coming-out stories, there is no traumatic scene of rupture from their parents as the girls' families take on the implications of their sexuality. "I didn't want a major clash or a huge separation," said Kechiche of the story, which is loosely adapted from a graphic novel by Julie Maroh. "What I loved aside from the love story was the fact that this person missed their train, meets this woman, and her life totally changes: this meeting held out such tremendous promise. The idea that you meet someone by chance and it changes your life for ever. I was deeply touched by that idea." Cannes 2013 Cannes film festival Festivals France Charlotte Higgins © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

Vice All News Time23 May 2013 21:52:38

Blue is the Warmest Colour – first look review

23 May 2013 11:39:28 Film |

Epic and erotic yet intimate – Abdellatif Kechiche's uncompromising story of an affair makes other films look tame There's a devastating mix of eroticism and sadness in Abdellatif Kechiche's new film, which returns to the style and setting of his 2003 movie Games Of Love and Chance . It's the epic but intimate story of a love affair between two young women, unfolding in what seems like real time. There's an interestingly open, almost unfinished quality to the narrative, although this could just be because the print shown here in Cannes was still without credits. The film is acted with honesty and power by Léa Seydoux and Adèle Exarchopoulos; the affair itself is a little idealised, and the film is flawed by one rather histrionic scene, though not, I think, by its expansive three-hour length. Nonetheless, this is still a blazingly emotional and explosively sexy film, which reminds you how timidly unsexy most films are, although as with all explicit movies, there will be one or two airy sophisticates who will affect to be unmoved by it, and claim that the sex is "boring". It isn't. The movie is based on a French graphic novel, Le Bleu Est Une Couleur Chaude, by Julie Maroh, although the film had for me something of an early fiction by Alan Hollinghurst, like The Spell. Adèle (Exarchopoulos) is a 17-year-old at high school in Lille, a bright, idealistic student who loves studying literature, both English and French, and wants to be a teacher. (She will incidentally reveal later that she loves American movies by people like Scorsese and Kubrick – though it is Altman who is more of an influence on this expansive, garrulous film.) After a painful breakup with a boyfriend, Adèle goes with a gay friend to a bar, and sees a beautiful young woman with short hair, dyed blue, whom she has noticed before in the street: it is Emma (Séydoux), an art student. Soon they begin a paint-blisteringly intense affair. Emma's blue hairstyle means that the colour blue – a cleverly returning motif – becomes the colour of happiness. But as the couple grow up and grow apart, Emma lets the blue-dye job grow out and she reverts to her natural blonde colour. It is a bad sign: the beginning of the end. The extended sex scenes have an explicitness and candour which can only be called magnificent; in fact they make the sex in famous movies like, say, Last Tango in Paris look supercilious and dated. (And it also rather exposes the confection of François Ozon's Jeune et Jolie earlier in the competition.) There is something coolly, thrillingly uncompromising about the first sex scene especially, and also something quietly and inexplicably moving when Kechiche finally cuts from the end of that sequence to the crowd scene at a gay pride rally. Food is an interesting motif as well. Emma introduces Adèle to her liberal and tolerant mother and stepfather over dinner; they are entirely aware of Emma's sexuality and serve Adèle a sophisticated novelty – oysters. (A hint of Kubrick here? Olivier's "oysters" speech from Spartacus?) When Emma comes back to meet Adèle's conservative folks, however, the lovers have to stay in the closet and pretend Emma has a boyfriend. They get served some humbler fare: spaghetti bolognaise. Yet is precisely this kind of food that Adèle serves up at the party for Emma's first art exhibition, cementing her submissive and domestic position in the relationship. The darker phase of their relationship (presumably the second "chapter" of the title) is painful and there is ultimately much crying, and this looks every bit as passionate and real and un-Hollywood as the sex. I can't imagine Jessica Chastain or Anne Hathaway ever doing the brutally authentic tears-mingling-with-snot look the way Adèle Exarchopoulos does it. It's a long movie, and by the end you may well feel every bit as wrung out as the characters. But it is genuinely passionate film-making. Rating: 4/5 Cannes 2013 Cannes film festival Festivals Peter Bradshaw © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

Vice All News Time23 May 2013 11:39:28

Woolwich attack: Moment heroic woman tries to remonstrate with knife-wielding 'soldier killer' before police arrived at scene

22 May 2013 23:49:45 News | Mail Online

The image shows a man wearing a brown jacket and carrying what appears to be a large knife, speaking to the woman beside a blue car which has significant damage to its front end.

Vice All News Time22 May 2013 23:49:45

Amanda Berry: Listen to Charles Ramsey's full uncensored 911 call made after Amanda Berry rescue

08 May 2013 17:14:48 mirror - News

Gina DeJesus, Michelle Knight and Amanda Berry and her six-year-old daughter fled the house in Cleveland, Ohio

Vice All News Time08 May 2013 17:14:48

Britain set to bask in warmest May bank holiday for years

05 May 2013 10:44:44 UK headlines

It has been a long time coming but Britain is finally expected to welcome Spring today with one of the hottest May bank holidays for several years.        

Vice All News Time05 May 2013 10:44:44