"Blue Is the Warmest Color" — that movie about lesbians that won the grand prize at Cannes — is hated by...

... the lesbian who wrote the graphic novel upon which the movie was based. And by "graphic novel," I don't mean that it has detailed descriptions of the sexual act. (The movie, however, has a 10-minute sex sequence that the author calls pornographic.) What I mean is what the NYT is referring to as a "comic book-novel" to avoid the ambiguity that appears in my first sentence.

Here's the Wikipedia article for "graphic novel":

The term "graphic novel" was first used in 1964; it was popularized within the comics community after the publication of Will Eisner's A Contract with God in 1978, and became familiar with the public in the late 1980s after the commercial successes of the first volume of Spiegelman's Maus, Moore and Gibbons's Watchmen, and Miller's The Dark Knight Returns. At the beginning of the 21st century, the Book Industry Study Group added "graphic novel" as a category in book stores.

Oh, but the author-artist of "Le Bleu Est une Couleur Chaude," Julie Maroh, will be stuck with the less respectful terminology as the topic under discussion is porn. Her book has sensitive images like this:



And the movie doesn't capture what she meant to convey.

Noting that the director and actresses are “all straight, unless proven otherwise,” she said that with few exceptions, the film struck her as “a brutal and surgical display, exuberant and cold, of so-called lesbian sex, which turned into porn.”

Even worse, she said, “everyone was giggling.”

Heterosexual viewers “laugh-ed because they don’t understand it and find the scene ridiculous.

“The gay and queer people laughed because it’s not convincing, and find it ridiculous,” she continued. “And among the only people we didn’t hear giggling were” the “guys too busy feasting their eyes on an incarnation of their fantasies on screen.”

But what do you expect when a commercial movie is made from a book? The story is much less about the inner thoughts and feelings of the characters, and what's on the screen are superficial images, particularly beautiful faces and bodies, and the audience is invited to gaze and feel whatever they feel. The movie director,  Abdellatif Kechiche, said:

“What I was trying to do when we were shooting these scenes was to film what I found beautiful,” he said. “So we shot them like paintings, like sculptures. We spent a lot of time lighting them to ensure they would look beautiful; after, the innate choreography of the loving bodies took care of the rest, very naturally.”

So, like many, many movies — perhaps nearly all movies — this movie is about how beautiful women are. Meanwhile, we learn that the actresses were not as naked as they look. "We were wearing prostheses," one says, mysteriously.