#BLUE FILM INDONESIA 2011 MOVIE#
Article content ‘When you make a movie you always hope that it will participate and be part of an evolution of the spirit, of the heart - there is always something you’re trying to say to other people through it’ This advertisement has not loaded yet, but your article continues below. And when I discovered this book, I saw a link back to this original idea of mine quite naturally. I’d written several versions of the story, of the screenplay, but I was never quite convinced about it to make the film and it stayed in limbo. After that movie I really wanted to develop that character of the professor, interpreted by Carole Franck - I imagined that this person was living through very tough and dramatic things in her life, and wondered how she faced her personal challenges and struggles in terms of her work in the classroom. Is that why she is a teacher, to explore this idea of putting on a brave face? In my second film, L’esquive, there was the character of a French teacher who was very invested in his students. You frame the movie with extended classroom scenes. Adèle is much more frontal, she goes much more interested in pursuing her desires, what she wants and confronts life more bravely. Clementine is very closed, she questions herself, her fantasies. Why? It’s a very loose adaptation and there are characters that don’t always resemble the bande dessinée, most of all the character of Adèle, who from the point of view of who she is is almost the exact opposite.
You also opted not to have that narrative voice-over aspect of Adèle that explains so much of the story.