Blue Is The Warmest Colour (18)

Directed by Abdellatif Kechiche

4 Stars

When Blue Is The Warmest Colour won the Palme D'Or at Cannes this year, it drew controversy.

The jury were accused of making a political statement, film unions complained about working conditions on the unique project and there were objections to a 15-year-old girl acting in a sex scene. And the film's two leads claimed they had been exploited, despite jointly winning best actor award at the French film festival.

Made by Tunisian director Abdellatif Kechiche, the film's based upon Julie March's graphic novel which features a "lesbian love affair." But, as the director has explained, it's like every other love story between a couple and the emphasis is more on the injustices of the class system

As for the sex scenes being exploitative, they are so tasteful and glossy with no sweat or stains on view that they're distanced from reality. They belie the 18 certificate because they wouldn't frighten the children, never mind young adults. Such a classification usually indicates there's violence along with the sex and tends to attract vicarious voyeurs looking for cheap thrills. That's not the case here.

We're first introduced to Adele (Adele Exarchopoulos) a 15-year-old working-class girl studying English who wants to be a teacher. Experiencing the pangs of growing up, she casts her eye over a girl with blue hair which inspires a masturbatory fantasy. But then, her first sexual experience is unsatisfyingly with a boy.

Teased by a girl who offers her a kiss, she's scorned as a "lesbo" in school and seeks platonic solace with a gay lad who takes her to a gay club. There she espies the blue-haired Emma (Lea Sedoux), a wannabe painter who's trying to make her name and it's not long before they're kissing and exploring each other's bodies.

This includes the so-called "offensive" sex scene, defined thus by bigots. While long and passionate, it clearly emphasises the first feeling of real freedom, not something ugly or sinful.

All the while the pair have to deal with class and cultural differences even though their parents aren't exactly neanderthals and clearly love their offspring.

Adele becomes the muse of Emma, who produces a body of work that launches her into the spotlight - not the world or career the former hankers for.

Despite her knowledge of literature, she's adamant that she doesn't want to be an author but teach impoverished children so that they have a chance in life.

Heartache ensues as the gloss of the first meeting giving way to real anguish and jealousy - convincingly conveyed - which is the ultimate detox for lovers anywhere.

Kechiche isn't afraid to let his camera linger to emphasise their humanity and there are two great performances from the leads. As the two women mature and pursue their chosen professions, there's still that lingering feeling that something might change, no matter what they say.

There's certainly the hint that this is a story that has not yet ended.