Presumptive Democratic presidential nominee Hillary Clinton was in Springfield, Ill., Wednesday where she sought to use the symbolism of a historic landmark to draw parallels to a present-day America that is in need of repairing deepening racial and cultural divides.

The Old State Capitol — where Abraham Lincoln delivered his famous "A house divided" speech in 1858 warning against the ills of slavery and where Barack Obama launched his presidential bid in 2007 — served as the backdrop for Clinton as she spoke of how "America's long struggle with race is far from finished."

Episode 711: Hooked on Heroin

1 hour ago

When we meet the heroin dealer called Bone, he has just shot up. He has a lot to say anyway. He tells us about his career--it pretty much tracks the evolution of drug use in America these past ten years or so. He tells us about his rough past. And he tells us about how he died a week ago. He overdosed on his own supply and his friend took his body to the emergency room, then left.

New British Prime Minister Theresa May announced six members of her Cabinet Wednesday.

Amid a sweeping crackdown on dissent in Egypt, security forces have forcibly disappeared hundreds of people since the beginning of 2015, according to a new report from Amnesty International.

It's an "unprecedented spike," the group says, with an average of three or four people disappeared every day.

The Republican Party, as it prepares for its convention next week has checked off item No. 1 on its housekeeping list — drafting a party platform. The document reflects the conservative views of its authors, many of whom are party activists. So don't look for any concessions to changing views among the broader public on key social issues.

Many public figures who took to Twitter and Facebook following the murder of five police officers in Dallas have faced public blowback and, in some cases, found their employers less than forgiving about inflammatory and sometimes hateful online comments.

As Venezuela unravels — with shortages of food and medicine, as well as runaway inflation — President Nicolas Maduro is increasingly unpopular. But he's still holding onto power.

"The truth in Venezuela is there is real hunger. We are hungry," says a man who has invited me into his house in the northwestern city of Maracaibo, but doesn't want his name used for fear of reprisals by the government.

The wiry man paces angrily as he speaks. It wasn't always this way, he says, showing how loose his pants are now.

Ask a typical teenage girl about the latest slang and girl crushes and you might get answers like "spilling the tea" and Taylor Swift. But at the Girl Up Leadership Summit in Washington, D.C., the answers were "intersectional feminism" — the idea that there's no one-size-fits-all definition of feminism — and U.N. climate chief Christiana Figueres.

Copyright 2016 NPR. To see more, visit http://www.npr.org/.

Arizona Hispanics Poised To Swing State Blue

5 hours ago
Copyright 2016 NPR. To see more, visit http://www.npr.org/.

Pages

For 'Blue,' The Palme d'Or Was Only The Beginning

Oct 24, 2013
Originally published on October 24, 2013 6:25 pm

The French film Blue Is the Warmest Color has been making news for months.

It won the top prize at the Cannes Film Festival in May. Then the director and his stars got into a public feud about the conditions on set and the explicit sex scenes between the film's leading actresses. After months of controversy, the picture finally opens in American cinemas this week — with an NC-17 rating.

But before it became the cinematic flashpoint of the year, Blue Is the Warmest Color was also declared the love story of the year.

A Maddening Kind of Filmmaking

For the first time in its history, the Cannes Film Festival jury, led by Steven Spielberg, awarded its top prize to three artists for one film. The Palme d'Or went to filmmaker Abdellatif Kechiche and the actresses Lea Seydoux and Adele Exarchopoulos — recognition of just how far the actresses had to go to bring their love story to the screen.

Take the opening scene: High school student Adele is crossing the street when she sees the blue-haired Emma, her arm wrapped proudly around her then-girlfriend. The two walk past each other, only to pause seconds later to turn around.

"We see it in the film, it lasts 20 seconds," says Seydoux, who played Emma. "And we spent one day, and we did almost a hundred takes for that. And we had to cross the street a hundred times."

Kechiche is known for this maddeningly demanding kind of filmmaking, shooting take after take to capture a perfectly rendered moment. His own take on that scene:

"It arrives at a very, very precise moment," he says. "Life can be transformed in a second. Love at first sight while crossing the street. If it hadn't happened, if Adele had arrived one minute earlier or one minute later ...

"Is it chance, is it destiny? These are the questions it needs a whole film to respond to."

And his camera takes its time. It seems to float over his characters like a documentarian's eye, lingering on quiet glances, hovering on Emma's face while Adele speaks, on Adele's mouth as she listens.

That's why critics love Abdellatif's work, and why Seydoux says she wanted to work with him.

"And yeah, I knew his technique, but it's true, it was very, very difficult," she says. "But I'm not complaining, you know. I don't mind to suffer. It was just that on this film it was a very special experience.

"And very — yeah, very painful."

Art Or Exploitation?

Those public complaints by the actresses have fueled the perception that the film was built on exploitation. Some critics went further, calling Blue nothing more than a kind of auteur porn — a vulgar exploitation of young actresses and their bodies by a male director.

Film critic B. Ruby Rich writes about the portrayal of women and sexuality on-screen, and she says American critics need to get over their obsession with explicit sex.

"Directors are famously sadistic toward their actresses," she says. "And you know, film is a medium which expertly hides its own process. You never know what went on on a film set unless someone chooses to talk, and they usually don't. These actresses are young. I think they're very naive. I think they didn't realize what sex means outside France, for instance."

For their part, the actresses have been saying that everything about making the film was difficult — not just the sex scenes.

"It wasn't [harder] to shoot the sex scenes than the scenes that were violent, or even just natural scenes," says the 19-year old Exarchopoulos, who plays Adele. "For example, when you're talking on the telephone and no one is on the other [end]. We laughed a lot when we were making the film. It was a lot of fun to make the film, and we took a lot of pleasure in it."

And that's what distinguishes art from pornography for Kechiche.

"An actor who plays a role against his will, or an actress who plays a role against her will — for example an actor or actress working with me, when it is not done with pleasure, it becomes pornography."

And even if the film's controversial scenes do amount to pornography to some, they last 10 minutes in a film that spans three hours.

When Two Worlds Collide

Rich says for her, Blue Is the Warmest Color is not a film about sex. It's a film about a relationship that sparks across a societal divide.

"He [Kechiche] presents for the character of Adele a wonderfully multicultural France," she says. "A France where young people in high school of all different races and backgrounds are mixing together and partying — and the world of the older woman, Emma, played by Lea Seydoux, is a much more rarefied world, it's a more upper-class world. ... It's a world of French intellectuals, and those worlds ultimately don't mesh all that well."

For the Tunisian-born Kechiche, film is a way to explore the confrontation between rich and poor — between insiders and outsiders — in France today.

"The confrontation between these two worlds, and the possibility of understanding and acceptance of one into the other fascinates me," he says. "I ask myself this question very often and explore it through my films.

"Can one really get out of one's own social origins, if you're like Adele? And can she be understood by Emma's world? It's a very important question for me. I almost want to say I'm obsessed with this question and have been for a long time."

You don't have to be French, or falling for someone of the same sex, to connect to that question, says Rich — to ask whether first love can ever overcome the harsh realities of becoming an adult.

"Certainly this film took me back to all the great passions of my life," she says. "You know the kind of sensation you're supposed to have when you're dying? That's how I felt about the different people I'd been with. ... That time in my life just came back. ... If people can be open to it, [this film] really can be a time machine, taking people back to some of the most vivid, passionate experiences in their life."

Copyright 2013 NPR. To see more, visit http://www.npr.org/.

Transcript

MELISSA BLOCK, HOST:

This is ALL THINGS CONSIDERED from NPR News. I'm Melissa Block.

AUDIE CORNISH, HOST:

And I'm Audie Cornish. The French film "Blue Is the Warmest Color" is making news for several different reasons. It won the top prize at the Cannes Film Festival in May. Then the film's director and its lead actresses began a public feud about the conditions on set and the film's explicit scenes of lesbian sex.

But NPR's Bilal Qureshi reports before it became the big screen controversy of the year, critics were calling "Blue Is the Warmest Color" the love story of the year.

BILAL QURESHI, BYLINE: For the first time in its history, the Cannes Film Festival jury awarded its top prize to three artists for one film. The jury was lead by Steven Spielberg.

STEVEN SPIELBERG: These artists are Adele, Lea and Abdellatif Kechiche.

QURESHI: The Palme d'Or that went both to filmmaker Abdellatif Kechiche and the actresses Lea Seydoux and Adele Exarchopoulos was recognition of just how far the actresses had to go to bring their love story to screen. Take the opening scene: High school student Adele is crossing the street when she suddenly sees Emma, a woman with blue hair, her arm wrapped proudly around her then-girlfriend. The two walk past each other, only to pause seconds later to turn around.

Lea Seydoux plays Emma.

LEA SEYDOUX: In the film, it lasts 20 seconds. And we spent one day, and we did almost a hundred takes and we had to cross the street a hundred times.

QURESHI: Director Abdellatif Kechiche is known for this maddeningly kind of filmmaking, shooting take after take to capture a perfectly rendered moment. Here is his take on that scene:

ABDELLATIF KECHICHE: (Through translator) It arrives at a very, very precise moment. Life can be transformed in a second. Love at first sight while crossing the street. If Adele had arrived one minute earlier or one minute later or one minute later, it wouldn't have happened and she wouldn't have met Emma.

(Though interpreter) Is it chance, is it destiny? These are the questions it needs a whole film to respond to.

QURESHI: And his camera takes its time. It seems to float over his characters like a documentarian, lingering on quiet glances, hovering on Emma's face while Adele speaks, on Adele's mouth as she listens. That's why critics love Abdellatif's work, and why Seydoux says she wanted to work with him.

SEYDOUX: I knew his technique, but it's true, it was very, very difficult. I'm not complaining, you know. I don't mind to suffer. It was just that on this film it was a very, very special experience. And very, yeah, very painful.

QURESHI: When the film premiered in the U.S., those publicized complaints by the actresses fueled the perception that the film was built on exploitation. Some critics went further, calling "Blue" nothing more than auteur porn, a vulgar exploitation of young actresses and their bodies by a male director.

Film critic B. Ruby Rich writes about the portrayal of women and sexuality on-screen, and she says American critics need to get over their obsession with explicit sex.

B. RUBY RICH: Directors are famously sadistic toward their actresses and, you know, film is a medium which expertly hides its own process. You never know what went on on a film set unless someone chooses to talk, and they usually don't. These actresses are young. I think they're very naive. I think they didn't realize what sex means outside of France.

QURESHI: And for their part, the actresses have been saying that everything about making the film was difficult, not just the sex scenes. Nineteen-year old Adele Exarchopoulos plays Adele.

ADELE EXARCHOPOULOS: (Through translator) The sex scenes were no more difficult than the violent scenes or the normal ones. Like, when you're talking on the telephone and no one is on the other end. We laughed a lot when we were making the film. It was a lot of fun to make and we took a lot of pleasure in it.

QURESHI: And that's what distinguishes art from pornography for Director Abdellatif Kechiche.

KECHICHE: (Through translator) An actor who plays a role against his will, or an actress who plays a role against her will, for example an actor or actress working with me, when it is not done with pleasure, it becomes pornography.

QURESHI: And even if the film's controversial scenes do amount to pornography, they last 10 minutes in a film that spans three hours. B. Ruby Rich says for her, "Blue Is the Warmest Color" is not a film about sex. It's a film about a relationship across a societal divide.

RICH: He presents for the character of Adele a wonderfully multicultural France where young people in high school of all different races and backgrounds are mixing together and dating and partying, and the world of the older woman, Emma, played by Lea Seydoux, is a much more upper-class world. It's a world of French intellectuals, and those worlds ultimately don't mesh all that well.

(SOUNDBITE FROM FILM "BLUE IS THE WARMEST COLOR")

QURESHI: For the Tunisian-born Director Abdellatif Kechiche, film is his way to explore the confrontation between rich and poor, between insiders and outsiders, in France today.

KECHICHE: (Through translator) The confrontation between these two worlds, and the possibility of understanding and acceptance of one into the other fascinates me. Can one really get out of one's own social origins, if you're like Adele? And can she be understood by Emma's world? It's a very important question for me. I almost want to say I'm obsessed with this question and have been for a long time.

(Through translator) What causes this difference and this lack of comprehension?

QURESHI: You don't have to be French or gay to connect to that question, says critic B. Ruby Rich, to ask whether first love can ever overcome the harsh realities of becoming an adult.

RICH: Certainly this film took me back to all the great passions of my life. You know the kind of sensation you're supposed to have when you're dying? Suddenly everything flashes back through your head. Well, that's how I felt those times early, early in my life when that kind of falling into someone the way you would fall into a universe, that time in my life just came alive again from watching this film.

So I think if people can be open to it, whatever their sexuality is, it can really be a sort of time machine, taking people back to some of the most vivid, passionate, all-encompassing times in their life.

QURESHI: And after months of controversy, "Blue Is the Warmest Color" finally opens in American cinemas this week with an NC-17 rating. Bilal Qureshi, NPR News. Transcript provided by NPR, Copyright NPR.