Close up shots break down boundaries and add a naturalistic quality that help viewers identify with the characters as relatable individuals. These close ups show an intense form of realism brought to life and creates an intimate relationship between the film and audience. He is known for his extreme close ups of characters eating. Throughout the film, Kechiche focuses on close ups of the eyes and mouth.
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The idea of fate and tragedy as a natural human condition is hinted by alluding to the play La Vie de Marianne by Peirre de Marivaux and La Princesse de Clèves by Madame de La Fayette. They are a product of their social class and values. The film explores the idea of predestination and our social conditions as indicators of the characters inability to achieve social mobility. Adèle seeks a concrete/stable life style while Emma wants her to be more intellectual, cultured, and artistic. The girls come from different social classes and upbringing.
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They also encourage the idea that with marriage, Emma can be free to explore her art because they believe the men should pay the bills. Adèle's parents represent the stereotypical roles of women and men as the mother and father assume that Emma has a boyfriend. Adèle's parents seem to encourage Emma to consider choosing a stable career as opposed to Emma's parents who encourage Adèle and Emma to be creative individuals. In a previous dinner scene, Adèle's parents are eating as they watch a television program, they hardly talk and all that is heard is the television show and the chewing of spaghetti. They eat spaghetti, a common dish that represents their usual, routine lives. Her parents are under the impression that Emma is just a friend helping Adèle with philosophy. Adèle does not tell her parents about her relationship with Emma.
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The second dinner scene, hosted by Adèle, is quite different. Adèle and Emma do not hide their relationship, sexuality, or life ambitions in the first dinner scene. They eat oysters and white wine which contrasts the simple and constant spaghetti and red wine dinners at Adèle's home. In the first scene Emma's family sit around the table and talk about paintings, following a career that is pleasing to the individual, and their love for art. Kechiche explores the theme of social mobility in two scenes that juxtapose Emma and Adèle (Clementine). Kechiche explores themes surrounding social mobility, the LGBTQ community, self identity, depression, and coming of age. Kechiche brings Julie Maroh's graphic novel to life through his use of close ups that magnify emotions and thus gives the film an intense feeling of realism. Blue Is the Warmest Color is a film by Tunisian/French director Abdellatif Kechiche.