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Kechiche, a Tunisian Frenchman, obviously did his homework. Perhaps that is what got Dargis so riled. What I object to is that the three sex scenes, each virtually indistinguishable from the next, did not progress and therefore did not serve the narrative.
The first scene cements the intense passion the two share, although for a first-timer our protagonist Adele is suspiciously savvy, needing no direction.
Which brings me to my only technical gripe, which is the complete lack of talking. Lesbians talk during sex.
A lot. A little talking helps steer the ship, as it could have with this movie. It could have showed how these characters relate to each other, who is in control when, and how their sexual interaction mirrors their interaction outside the bedroom.
Would that not have been a good time to use sex to tell the story? Blue Is the Warmest Color is a work of art, it does not need to be realistic.
But Kechiche failed in his mission. So Dargis was right. But Kechiche admits it. If only he displayed the same respect for female artists as his fictional counterpart does.
Set at a beach where gay men go to tan in the nude and tumble in the bushes, this paradise for the horny and lonely is disrupted when one of their own mysteriously drowns.
Guiraudie manages to infuse the glistening water with a menacing hue, and the sounds of breeze in the trees or footsteps on gravel assume an ominous timbre.
Nature can be dangerous, but human nature is lethal. By equating gay male sex with death, Guiraudie reminds us of the problematic tropes of the past, boldly declaring them no longer off-limits.
Unlike Kechiche, Guiraudie writes from his own experience, rather than striving to see the world through a different lens.
The actresses were apparently unhappy with the director's methods. And now Kechiche has said that his prize winner should not even be released.
Since then I've felt humiliated, dishonoured, living with a curse One thing is certain, ever since the Cannes premiere of Kechiche's loose adaptation of Julie Maroh's graphic novel about two young lovers, the actresses have been the most talked about couple in film.
Not least because of a six-minute- sex scene, which left many critics wondering if the action was simulated or not. Off-screen, the actresses have clearly become firm friends.
While waiting to interview Seydoux, 28 and Exarchopoulos, 19, I can see them locked arm-in-arm, sharing gossip and sniggering.
They tell me that the acclaim for the film has calmed their nerves somewhat following a difficult and turbulent six-month shoot.
We did takes, just of the moment that we crossed paths. And then he became crazy. He took the monitor, and was like, 'Oh my God! By now everyone who works with Kechiche — whose previous films include the excellent The Secret of the Grain — knows what to expect.
When I decided to make the film, I knew that it was going to be hard. I think I wanted that. I wanted to see how it was to go this far.
Those who have only seen Seydoux's turns in the American films Mission: Impossible — Ghost Protocol and Midnight in Paris are in for a great surprise, as she shows acting chops that were only briefly on display previously in Ursula Meier's Sister.
In person, she is very shy, but there is no sign of that on screen, where she plays a powerful, blue-haired lesbian who becomes the object of affection for an innocent young student.
In real life, it's Exarchopoulos who is the more boisterous and outspoken. Having come out of nowhere, she is now being touted as an outside bet for an Oscar nomination.
None of the films where she has a prominent role have been widely released in the UK. She auditioned many times for this role, as the director tested out every budding actress in France.
In the comic book, her character is called Clementine. So one day Abdellatif asked me if it would bother me to keep my own name for my character.
So we just kept it. The actresses didn't know each other before filming began. We were embarrassed. And he shoots for such a long time, I was thinking, 'Man, you can stop there!
Was there anything that she refused to do? You have something to protect and tape it under. I don't make love on screen.
We can fake these things, you can't fake feelings, but you can fake body language. Of course it was kind of humiliating sometimes, I was feeling like a prostitute.
Of course, he uses that sometimes. He was using three cameras, and when you have to fake your orgasm for six hours I can't say that it was nothing.
But for me it is more difficult to show my feelings than my body. It is this kind of statement that has left Kechiche fuming.
He argues that it stops audiences going into the film with open hearts and that it paints a picture of him as a tyrant.
Kechiche demanded a level of realism in every scene, clothed on or not. He wants us to really be smoking a joint and drinking beer.
Sometimes too much. He wants to be close to the truth every time. We are drinking real wine. The man who plays the Emma's stepfather is one of the producers and he was so drunk in one scene.
You just listened to his voice and you knew it wasn't useable — he was so drunk and saying things that weren't the subject of the film.
And yet this is a film where it seems that the ends justified the means.
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