Adele Exarchopoulos Bio
Adèle Exarchopoulos was born on 22 November 1993, sh is a French actress. Adèle is best known for her leading role as Adèle in Blue Is the Warmest Colour (2013), for which she earned international attention and critical acclaim; at the 2013 Cannes Film Festival.
She became the youngest person in the history of the festival to be awarded the Palme d’Or. For her performance in Blue Is the Warmest Colour, she also won the César Award for Most Promising Actress and the Trophée Chopard Award for Female Revelation of the Year, among dozens of other accolades.
Exarchopoulos grew up in the 19th arrondissement of Paris, near the Place des Fêtes. Her father, Didier Exarchopoulos, is a guitar teacher, and her mother, Marina Niquet, a nurse. Her paternal grandfather was Greek.
Adele Exarchopoulos Family
She was born to a Greek father and a French mother. She’s dated actor Jeremie Laheurte.
Adèle Exarchopoulos Movies | Career
In 2006, Exarchopoulos was spotted by an agent and made her first television appearance in an episode of the French police series R.I.S, police scientifique. At thirteen, she had a role in the 2007 film Boxes. She also appeared in the films Les Enfants de Timpelbach (2008), The Round Up (2010), Turk’s Head (2010), Chez Gino (2011), Carré blanc (2011), Pieces of Me (2012) and I Used to Be Darker (2013).
She attracted international attention and critical acclaim for her performance in Blue Is the Warmest Colour, a 2013 film based on the 2010 French graphic novel of the same name. The film won the Palme d’Or at the 2013 Cannes Film Festival.
Exarchopoulos and co-star Léa Seydoux were awarded the Palme d’Or alongside director Abdellatif Kechiche, becoming the only women apart from director Jane Campion to have won the award; Exarchopoulos is the youngest person to ever receive the award.
She received extensive critical praise and her performance was cited as one of the year’s best. IndieWire critic Eric Kohn stated that he believed Exarchopoulos’ performance was the best female performance of 2013. Her performance was praised for its “rawness.”
Exarchopoulos discussed her process with The New York Times, explaining:
Abdellatif tried to keep us close to reality. He asked us to play with our own emotions. For example, I kept my own voice. It’s very subtle, very delicate, the things that are a part of you and the things that are a part of your character.
In March 2014, she was in consideration to play Tiger Lily in Pan but lost to Rooney Mara. She then appeared in The Last Face alongside Javier Bardem and Charlize Theron, directed by Sean Penn, which premiered in competition for the Palme d’Or at the 2016 Cannes Film Festival.
She plays Judith in the 2015 period drama film The Anarchists. She is to appear in Racer and the Jailbird, a film by Belgian film director Michaël R. Roskam, and Orpheline, a French film by director Arnaud des Pallières in 2017.
Adèle Exarchopoulos Films
|2006||R.I.S, police scientifique||Sarah||TV series|
|2008||Les Enfants de Timpelbach||Marianne|
|2010||The Round Up||Anna Traube|
|2011||Chez Gino||Maria Roma|
|Carré blanc||Marie (young)|
|2012||Des morceaux de moi||Erell|
|2013||I Used to Be Darker||Camille|
|Making a Scene||The Woman||Short|
|Blue Is the Warmest Colour||Adèle||Critics Choice Movie Award for Best Young Actor/Actress
Broadcast Film Critics Association Award for Best Young Performer
Cannes Film Festival – Palme d’Or and Trophée Chopard Award for Female Revelation of the Year
César Award for Most Promising Actress
Chicago Film Critics Association Award for Most Promising Performer
Dublin Film Critics Circle Award for Best Newcomer
Étoiles d’or du cinéma français for Best Actress
Étoiles d’or for Best Female Newcomer
Globes de Cristal Award for Best Actress
International Cinephile Society Award for Best Actress
Los Angeles Film Critics Association Award for Best Actress
Lumières Award for Most Promising Actress
National Board of Review Award for Breakthrough Actress
New York Film Critics Online Award for Breakthrough Actress
Prix Romy Schneider
Sant Jordi Award for Best Foreign Actress
Santa Barbara International Film Festival – Virtuoso Award
Village Voice Film Poll for Best Actress
Nominated—Chicago Film Critics Association Award for Best Actress
Nominated—Detroit Film Critics Society Award for Best Actress
Nominated—Dorian Awards for Film Performance of the Year – Actress
Nominated—Dublin Film Critics Circle Award for Best Actress (2nd Place)
Nominated—Empire Award for Best Female Newcomer
Nominated—The Guardian Film Award for Best Actor
Nominated—London Film Critics Circle Award for Actress of the Year
Nominated—National Society of Film Critics Award for Best Actress (Runner-Up)
Nominated—New York Film Critics Circle Award for Best Actress (2nd Place)
Nominated—Online Film Critics Society Award for Best Actress
Nominated—San Diego Film Critics Society Award for Best Actress
Nominated—San Francisco Film Critics Circle Award for Best Actress
Nominated—Satellite Award for Best Actress – Motion Picture
Nominated—Washington D.C. Area Film Critics Association Award for Best Youth Performance
|Voyage vers la mère||Marie Louise|
|2015||The Anarchists||Judith Lorillard|
|2016||Down by Love||Anna Amari|
|The Last Face||Ellen|
|2017||Racer and the Jailbird||Bibi Delhany|
|TBA||The White Crow||Post-production|
Blue Is The Warmest Color
Adèle is an introverted 15-year-old high-school student. While crossing the street one day, she passes by a woman with short blue hair and is instantly attracted. She later dates and has sex with a boy from school named Thomas, but she is ultimately dissatisfied and breaks off their relationship.
After having vivid fantasies about the woman she saw on the street and having one of her female friends kiss her, she becomes troubled about her sexual identity.
One friend, the openly gay Valentin, seems to understand her confusion and takes her to a gay dance bar. After some time, Adèle leaves and walks into a lesbian bar, where she experiences assertive advances from some of the women.
The blue haired woman is also there and intervenes, claiming Adèle is her cousin to those pursuing Adèle. The woman is Emma, a graduating art student. They become friends and begin to spend more time with each other. Adèle’s friends suspect her of being a lesbian and ostracise her at school.
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Despite the backlash, she becomes close to Emma. Their bond increases and before long, the two share a kiss at a picnic. They later have sex and begin a passionate relationship. Emma’s artsy family is very welcoming to the couple, but Adèle tells her conservative, working-class parents that Emma is just a tutor for philosophy class.
In the years that follow, the two women move in and live with each other. Adèle finishes school and joins the teaching staff at a local elementary school, while Emma tries to move forward with her painting career, frequently throwing house parties to socialise with her circle.
At one of these, Adèle meets some of them, Lise, a pregnant woman and colleague, Joachim, “the biggest gallery owner in Lille”, and Samir, an aspiring actor who feels out of place amongst the intellectuals, with whom she strikes up a friendship. Emma belittles Adèle’s teaching career, encouraging her to find fulfilment in writing, while Adèle insists that she is happy the way she is.
It gradually becomes increasingly apparent how little they have in common, and emotional complexities manifest in the relationship. Out of loneliness and confusion Adèle sleeps with Antoine, a male colleague.
Emma becomes aware of the fling and furiously confronts Adèle and, refusing her tearful apologies, breaks up with her and throws her out. Time passes and although Adèle finds satisfaction in her job as a kindergarten teacher, she still cannot overcome her heartbreak. The two eventually meet again in a restaurant.
Adèle is still deeply in love with Emma and despite the powerful connection that is clearly still there between them, Emma is now in a committed partnership with Lise, who now has a young daughter. Adèle is devastated, but holds it in.
Emma admits that she does not feel sexually fulfilled but has accepted it as a part of her new phase in life. She reassures Adèle that their relationship was special, and she will always have infinite tenderness for her. The two part on amicable terms.
Later Adèle goes to Emma’s new art exhibition. Hanging on one wall is a nude painting that Emma once did of her during the sensual bloom of their life together. Though Emma acknowledges her, her attention is primarily on the gallery’s other guests and Lise.
Adèle congratulates Emma on the success of her art and leaves quietly after a brief conversation with Samir. He chases after her but heads in the wrong direction, while Adèle walks away into the distance.
Adele Exarchopoulos Hot
Adele Exarchopoulos Boyfriend
Adel doesn’t like to show her private life. It is known that at the age of 20 the girl had relations with the actor Jeremy Laert, her partner in the film “La vie d’Adele “, but later they broke up. In 2016 in Instagram with 638 thousand subscribers, photos with her new boyfriend, rapper Morgan Fremont, better known under the creative pseudonym Doums, appeared.
Young people had relations since May 2016, and in November rumors arose that Adel was pregnant. This fact was confirmed after the actress visited the defile of Louis Vuitton on March, 7. The girl did not hide her pregnancy from photographers and looked happy.
Lea Seydoux And Adele Exarchopoulos
A French teen (Adèle Exarchopoulos) forms a deep emotional and sexual connection with an older art student (Léa Seydoux) she met in a lesbian bar.
Adele Exarchopoulos Interview
He smiles with twinkly eyes.
“You slept well?” she asks.
“Like a baby,” he says. And on he walks.
“Ah, the master,” she says.
You wouldn’t think these two were at the heart of this year’s biggest cinema controversies. Adèle Exarchopoulos is 19, and recently made Blue Is The Warmest Colour, directed by French-Tunisian auteur Abdellatif Kechiche.
The film is a three-hour love story between two young women in which very little happens. It is compelling, often brilliant, and contains two astonishingly naturalistic performances from Exarchopoulos and Léa Seydoux.
The jury at this year’s Cannes film festival, chaired by Steven Spielberg, awarded Blue Is The Warmest Colour the prestigious Palme d’Or for best film. And, for the first time, the jury ruled that the two central performances were so remarkable that the director should share the award with his actors. There followed giddy photos of the trio celebrating an unprecedented triumph.
And then things took a strange turn. The actors gave interviews in which they talked about Kechiche’s tortuous process: how every scene had taken for ever, and how he had insisted on take after take until they felt they were cracking up.
They said an explicit sex scene had taken 10 days and that they had to lie on the bed fumbling with each other, cold and naked, hour after hour. “Most people don’t even dare to ask the things that he did, and they’re more respectful,” Exarchopoulos told the Daily Beast. Seydoux said that at times she felt “like a prostitute”.
A heartbreaking separation and reunion was shot and reshot until they felt battered and delusional. Exarchopoulos complained that the director had made Seydoux hit her repeatedly across the face in a fight scene. No wonder she cries so convincingly.
Then the director fired back. He said the actors were spoiled, didn’t know what real suffering was, that he felt “humiliated” and that he didn’t want the film released because the audience would no longer be able to watch it objectively.
Yet here we are, a few weeks before the film is to be released, with Exarchopoulos promoting the film in one room, Kechiche in another, and the two engaged in a seemingly warm if brief exchange.
Exarchopoulos tucks into a huge bacon and chicken club sandwich, french fries and tomato and mozzarella salad, and tells me how lucky she has been to work with Kechiche. “I love Abdellatif’s cinema. I love his movie. I love the fact that he starts from an ordinary story. I love that he’s tried to be close to the truth. I love the humanity in his movie and the power he gave to women in this film.”
Exarchopoulos’s character is called Adèle, and she is in every scene; in France the film is called The Life Of Adèle, Chapters 1 & 2. Her range is immense, from the unguarded ecstasies of first love to the tear-drenched, snot-dribbling grief of loss. Every scene is so slow and organic that it feels as if you are watching the relationship unfold in real time.
When all three won the Palme d’Or, she says, they were delirious. “I spoke to Spielberg afterwards, and they said they chose to make an exception and give the actors the joint Palme d’Or for the first time. I was surprised we won. We were telling ourselves he’s too puritanical, he’s not going to like the movie, and in fact he loved it.”
I’m confused. They had a wonderful time at Cannes, were widely feted, and everything seems hunky dory today. So was the row exaggerated for publicity?
“No, it was real, but it was not as big as it looks. For me, a shoot is a human adventure, and in every adventure you have some conflict. It is hard when you are young to be pushed to your limits, but for me it was the best school.”
Was she misquoted as saying she felt exploited? She nods and shakes her head simultaneously. “No, it’s more complicated.”
Tell me. “The most important things are too private for me. In every shoot, between the actor and the director there is manipulation. I’m not saying that negatively. It’s healthy. Abdellatif records a lot of takes so that you can let go.” She says he wants his actors to be in a “second state”, instinctive, holding nothing back.
“It’s extreme, and sometimes it was really hard and he didn’t realise it because he has such passion for cinema, for reality, and sometimes it’s devouring.” She stops. “For me, every genius has their own complexity. And Abdellatif asks you to give him everything. You can trust him like a spiritual father. He will teach you anything, but yes, it was very hard.”
Exarchopoulos, whose grandfather is Greek, was born in Paris; her father was a guitar teacher and her mother a nurse. At eight, she joined a dramatic improvisation class. At 12, a director came to watch her and she was cast in a short film. She had bit parts in a number of films, but this is her first major role. She gave up on her baccalaureate to make the film.
She says she hated school; not the idea of learning, just the strictures, the mechanical nature of teaching. Was she academic? “No, I was mediocre. The less I did, the better I felt. I was lazy. I hate having things imposed on me. I hate it when people impose a certain rhythm.”
Exarchopoulos couldn’t be more French: her looks, her smoking, her emotional transparency. She has a lovely round face yet to lose its puppy fat, a sensual innocence that reminds me of a young Charlotte Gainsbourg, and a refreshingly belligerent intelligence. When bored by a question, she’ll look out of the window. When interested, she gives it her all.
I ask Exarchopoulos to describe Adèle’s character in the film. “She’s a young girl, a virgin of all experience in life, and she’s got a crush on somebody, and it is her first love. She is pure. She doesn’t know the rules of love, like you have to protect yourself.
She wants to give everything. I was the same with my first love. I give everything, I want to believe everything, I want to live everything, eat everything.” How old was she? “Fourteen.”
I tell her that even middle-aged people don’t know to hold things back, to protect themselves. “They should know,” she says incisively. “They will learn.” It makes me smile.
Would she say she was unusually mature for her age? “Maybe, I don’t know. It depends on your experiences. For example, I’ve always spent time with older people, and that helps.” At one point, she tells me that Kechiche, 52, was easy prey for journalists because he is naive.
Blue Is The Warmest Colour is superb on class (Adèle’s parents are working class, her lover bohemian middle class); snobbery (her lover belongs to a patronising art elite); bullying (her fellow pupils pick on Adèle when they think she is having an affair with a woman); school (Adèle becomes a teacher, and the film has some of the most tender scenes you will see with young children); and, as you might expect from the man who directed Couscous, food (Adèle eats plate after plate of pasta, splattering it all over her face; her lover’s family prefer oysters).
Adèle’s two most powerful scenes are when she breaks up with her lover, and when she attempts a reconciliation. I have never seen an actor weep with such raw intensity. When she talks about the way Kechiche manipulated her, I think of these scenes.
Surely she couldn’t have broken down so completely unless he had driven her to the edge with retake after retake? Is this what she found so painful?
“You can’t summarise a five-month experience around a hamburger. It is too intimate. These are things you don’t discuss. It’s just sometimes you were destabilised by the fact that he was pushing you to your limits. But that’s what we loved, too. He’s waiting for the greatest moment, and he would always take the best from you.”
Does part of her emotion come from the exhaustion? “Yes, for sure. Yes, you lose yourself.”
I ask if making the film has given her more confidence. “No. Because everyone has tried to judge me, to put something on my shoulders. Some people want me to be a gay militant. I have hate messages on Facebook, racist or homophobic: they talk about an Arabic man making two girls have sex.
Then some people say, ‘Will she be good in the next film or is it just Abdellatif Kechiche?’ I’m only 19. Stop asking me what I’m going to do tomorrow. I don’t know.”
She throws back a couple of chips, takes another bite out of her sandwich and says that, despite everything, “This is the best thing I have ever done in my life.”
Great, I say, so we’ll set the record straight and say that you will work with Kechiche again. “I don’t know. I have to prove myself with somebody else also. I was 18, I was suffering on this movie, nobody can understand because nobody was there.
Maybe in two years’ time, I will say yes.” If he asked her now? “I will say I don’t know. Please give me time to live my life, to discover myself, to work with other people, to learn.”
If Kechiche had gone ahead with his threats not to release the film because he was so hurt by his stars’ comments, would she have been upset? She deadpans, and tells me it’s a daft question, because it is coming out.
Yes, I say, but what if he had withdrawn it?
She laughs. “What d’you think? I gave myself for five months, everything I can.”
I think you would have been devastated, I say.
“Yes, of course.”
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‘Racer and the Jailbird,’ a nice showcase for Exarchopoulos, but falls apart
May 10, 2018
From the title, “Racer and the Jailbird” sounds like an American romp, with zany characters and car chases, something like this generation’s “Smokey and the Bandit.” It’s actually a Belgian movie called “Le Fidele” (translated as “The Faithful”), a dark romantic film that starts out great but wears out its welcome after an hour.
The good news is that it marks the return of Adele Exarchopoulos, who made a huge splash 4½ years ago with “Blue Is the Warmest Color.” She has starred in a number of French-language films in the years since, but this is the first to be released in the United States. She has a remarkable spontaneity, introspection and attentiveness. Everything goes straight from her mind onto the screen.
She plays Bibi, an up-and-coming race car driver, who meets Gigi (Matthias Schoenaerts), who seems to be a hotshot importer of cars. They hit it off and immediately plunge into a relationship, but she doesn’t quite know what he does for a living, and when he tells her, “I’m a gangster, and I rob banks,” she thinks he’s joking.
There’s a lot of good to be said for the first hour, from the love scenes, which go beyond convincing into downright enviable (OK, you really like each other, we get it), to subtler moments of revelation, as when we see a jolly dinner party with Gigi’s friends. They tell stories that are ostensibly funny — they’re all laughing merrily — but every anecdote has an undertone of cruelty and strangeness. This is not a matter of jokes being lost in the translation. We are meant to be creeped out by these people.
The movie makes an analogy between the adrenaline rush of racing and the rush of pulling off a robbery, while presenting Gigi as a man torn between his criminal life and his deepening emotional life, between the obligations of his past and the enticing future that is opening up before him. All this means something for the audience because we believe Schoenaerts’ performance and because we become convinced of the value and specialness of Bibi and Gigi’s connection — of two courageous, hard-boiled people meeting their soul mate.
So how, with all this going for it, does “Racer and the Jailbird” figure out a way to make itself boring? Aha, you must never underestimate the ingenuity of our filmmaking friends across the Atlantic. First, the screenwriters separate the two lovers — that plot turn is unfortunately hinted at in the dumb American title — and then the movie goes in a couple of directions that are, frankly, ridiculous. Not just ridiculous, but dull and dispiriting.
Thus, two good characters and two good performances go into the old poubelle — or, as we say in English, the garbage bin.
Drama. Starring Adele Exarchopoulos and Matthias Schoenaerts. Directed by Michael R. Roskam. In French and Flemish with English subtitles. (R. 130 minutes.)
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