Over a month later, ArcLight Cinema in Los Angeles welcomed the premiere of Eric's second film this year, "blue is the warmest color," following "transformers."
Unlike the widespread publicity for "transformers," "blue is the warmest color" was not suitable for large-scale promotion, and even from its project approval to filming and wrap-up, it remained under strict secrecy.
While LGBTQ+ themes are no longer taboo as they once were, they are still not mainstream topics, and the LGBT trend would not emerge for another decade or so.
From various film festivals, it seemed Europe was more open to LGBTQ+ themes, while the Oscar was more conservative than Europe.
Decades prior, there had been LGBTQ+ themed films nominated for an Oscar for Best Picture, but none had ultimately won the grand prize.
Even the highly popular "brokeback mountain" of its time, despite being so well-made, ultimately lost to "Crash."
But was "brokeback mountain" truly inferior to "Crash"?
The media and many people believed otherwise, suggesting it was more because the social climate at the time was not yet open, and Oscar judges were also cautious, not daring to break societal shackles.
By 2017, "moonlight" unexpectedly defeated excellent films like "Manchester by the Sea," "Hacksaw Ridge," and "la la land" to win the Best Picture award.
Because social trends were already shifting, the Oscar naturally followed suit, making a decision that most people had not anticipated.
Then in 2018, the jury's courage was clearly greater, as they awarded the grand prize to "The Shape of Water," a story where a woman falls in love with an amphibious creature—no longer even human-to-human love.
In countries outside the United States, could you believe this managed to beat "Three Billboards Outside Ebbing, Missouri"?
The biggest reason "The Shape of Water" won was undoubtedly political correctness; the views it conveyed perfectly aligned with the liberal agenda.
From the development trend of the Oscar over these years, one can see just how much social climate change impacts a film.
Filmmakers still have a certain pursuit and understanding of art, but they dare not openly defy public will.
As for ordinary people, needless to say, there are many who hold prejudices against LGBTQ+ themed films, and even against homosexuals themselves.
This is especially true in more conservative states like South Carolina, and regions where religion holds a dominant social position.
So, even though LGBTQ+ themed films are made every year, they are not widely released; some cinema owners refuse, making it difficult.
More often, they opt for a small-scale release in dozens of cinemas first; if the response is decent, they gradually expand, but very few manage to break through a thousand theaters.
Even a standout like "brokeback mountain" was ultimately shown in just over 600 cinemas; the resistance was simply too great.
With MGM's influence, and considering almost all films released that year were profitable, it helped the cinema chains earn a lot.
Therefore, cinema owners were willing to give Eric face, and the premiere barely reached 500 theaters. This was the result of multiple negotiations, pushing it to its limit.
Given various special reasons, today was less a premiere ceremony and more a symbolic ritual.
There was no red carpet, no celebrity invitations; only a large group of film critics attended, some invited by MGM, others coming on their own accord after hearing the buzz.
Everyone wanted to see what exactly this strictly confidential film was made of.
As the lights dimmed, Eric sat in the middle, with Ashley and Mary on his left and right, respectively.
This was the first time in several months that the two women had made a public appearance for a film; sensing their nervousness, Eric gently drew circles on their palms.
On the big screen, the story officially began with the first part—The Encounter.
Under the bright sunlight, with Adele's appearance, many film critics' eyes lit up.
This unadorned look completely subverted Ashley's past image, transforming her from a cute, cool girl into an ordinary girl one might see anywhere in daily life.
Kyle Jenkins, a film critic for the San Francisco Post's entertainment column, nodded to herself. As a woman, she appreciated this change in the actress, feeling it would give the film more a sense of real life.
And a good art-house film should possess this atmosphere; the movie had a good start.
In the following minutes, Adele's daily life began to unfold: an unremarkable family, an unremarkable school, an unremarkable classroom, and a few gossiping girlfriends.
If there was a bright spot, it was a male classmate who admired her.
"Hi Adele! Can I sit here?"
On the bus, the male classmate played by James McAvoy appeared. He had none of the domineering CEO vibe of commercial films, nor any pointing fingers from others; it was just a simple greeting, like in your and my life.
His expression carried a hint of awkwardness and shyness, as if worried about the girl's rejection, making his image starkly different from the American soldier in "transformers."
Many people had just finished watching "transformers," and the resolute roar before his death still echoed in their minds.
Now seeing his current screen image, that contrast was hard for many to accept, yet they had to admit this young man had acting skills.
Adele's love seemed to have arrived; the two began dating, but Adele was always distracted during their dates, seemingly unsatisfied with the relationship.
Just as they were on a date, Mary, with her short blue hair, appeared, embracing another girl. In a moment of startled intersection, they shared a glance that seemed to last an eternity.
Many film critics immediately sensed something unusual; from their experience, the plot seemed to be heading in an unexpected direction.
Sure enough, Adele returned home and lay alone in bed; the scene in her dream was not with her boyfriend.
Startled awake, Adele felt a bit flustered.
Dating her boyfriend became increasingly difficult; she felt more and more uncomfortable and could only confide in a stranger at a support group.
"I don't feel right."
"If the relationship isn't working, you should break up."
"No, it's not his problem, it's me. I feel like something is missing from me."
"I'm very dull when it comes to relationships between men and women. Even when I lean on his shoulder, it's like a bird and a fish, one soaring in the sky, one diving deep into the sea."
"A beautiful line, adapting Tagore's poetry!" Many film critics couldn't help but praise inwardly at this point.
Finally, Adele could not go against her inner desires and chose to break up with her boyfriend.
"Adele, I don't understand. Was I not good enough?"
"No, it's my own problem."
The two embraced and wept bitterly; one cried for her lost love, the other for guilt while bravely choosing to be herself.
After the breakup, she began to search, looking for the girl who had captivated her heart and soul. The two eventually met in a gay bar.
"Choose the one who loves you!"
More than half an hour into the film, Adele and Emma's deepest desires erupted.
In the cinema, many people gasped, not because the sex scene was too explicit.
The maximum exposure shown on screen, followed by close-ups of faces, was edited by Eric to avoid any nudity.
Nudity would classify it as NC17, prohibiting minors from watching, greatly affecting the audience size.
Without nudity, it's an R-rating, meaning minors can watch with parental accompaniment—a very vague term, as siblings, cousins, or distant relatives could all count.
The audience was shocked because Ashley and Mary were biological sisters; they were not two unrelated actresses but had a blood relationship.
This relationship, combined with captivating visuals, even if only hinting at intimacy, delivered an impact far greater than explicit scenes.
"OMG!"
"Oh my goodness!"
"How did Eric Cooper convince them?"
Film critics from NBC and ABC exchanged glances, both reading surprise in the other's eyes.
Throughout film history, nothing similar had ever occurred.
How would they film it? Wouldn't it be awkward on set? Wouldn't there be psychological barriers?
With these thoughts, everyone's attention was highly focused, more so than for any other movie.
The film then entered its second part—Falling in Love.
Adele and Emma; the color palette of the scenes became increasingly bright, and both displayed their most radiant smiles.
But behind the laughter, hidden dangers lurked; their environments were worlds apart.
Emma lived in an artistic family with open-minded parents, and her friends all encouraged her to pursue true love and express her true self.
However, Adele's family was more conservative, and most of her parents and friends were opposed to homosexuality.
The vast difference in their environments caused conflicts in their lives, especially since Adele dared not confide in her parents, leading to their first argument.
The film then entered its third chapter—Differences.
Facing Emma's circle of friends, especially when discussing art, Adele found herself unable to join in; she watched like an outsider as Emma chatted and laughed with others.
She could only silently tidy the kitchen, disappointment written on her face, but the excited Emma did not notice.
The two lacked communication; Adele preferred to be passive, keeping things to herself.
Emma, on the other hand, was a bit oblivious; she didn't notice, focusing only on her career.
After some time, the pressure of not fitting into the circle frustrated Adele, especially when seeing Emma's work make her uncomfortable.
In a daze, she accepted a male colleague's pursuit. The male colleague tried to take things further but was stopped by a clear-headed Adele, who he then took home.
But Emma witnessed this scene, leading to the eruption of their conflict.
The film then entered its fourth chapter—Despair.
Both were in pain after the breakup, but it wasn't just due to misunderstandings; it was more because their lifestyles and intellectual pursuits were too far apart.
Time flashed forward a year; Adele had changed into more professional clothes and a more mature hairstyle, and the two met again.
"How have you been?"
"Good, and you?"
"Same as before. You changed your hairstyle."
"Looks a bit old, doesn't it?"
"No, it's beautiful. Your old hairstyle was too messy."
"Are you still with that girl?"
"Yes, Liz had a child, and we're raising it together."
"How's it going? With her?"
Faced with this question, Emma hesitated for a long time.
"Boring? Dull? Or?"
Emma then looked into Adele's eyes: "In any case, it's not like it was with you."
Their hands suddenly clasped together.
"Shall we start over?"
Emma remained silent.
"You still haven't forgiven me?"
"No, I've forgotten those things; they're not important!"
The two gazed at each other silently, tears simultaneously streaming down their faces, choked with sobs as they spoke of their longing.
If that argument was an emotional outburst of screaming, this scene was a restrained, suppressed outburst, both very challenging.
For these two scenes, Eric put in a lot of effort, coaching the two sisters; it was no ordinary amount of mental and physical strain.
At the end of the film, Adele attended Emma and Liz's art exhibition, calmly chatted with them, and then quietly left.
No one knew why she came, and no one noticed when she quietly left.
Whoosh!
As the film ended, the theater lights came back on.
But the expected applause did not materialize; the hundreds of people present all had complex expressions.
Ashley and Mary's hearts immediately began to pound. What did this mean?
Silent protest?
They had anticipated a bad outcome, as biological sisters acting in such a way was indeed shocking.
But when it actually happened, they still felt a bit flustered.
At the crucial moment, Eric took their hands and, with the main cast, walked onto the stage. The ceremony still had to be completed, even if it meant Eric would be criticized; one couldn't lose face.
Once on stage, they noticed some seats in the audience were empty. It certainly wasn't due to the runtime, as Eric had condensed the original 3-hour plot to just over two hours.
If it wasn't for the runtime, then either it wasn't to their taste, they disliked the theme, or they disliked the group.
On the high stage, looking at the film critics and audience not far away, both sides exchanged silent glances. Today's ceremony was simple; there were no celebrities, and Eric naturally hadn't hired a host.
Seeing that prolonged silence was not an option, Andrea picked up the microphone, ready to break the ice.
Eric had given her the opportunity to direct, and she understood the principle of returning a favor.
Clap!
But just as she was about to speak, a crisp clap echoed from the audience.
Clap clap!
Immediately, a second, then a third person began to applaud.
Clap clap clap
Suddenly, most people began to applaud, and enthusiastic applause instantly filled the hall.
Their hearts, which had been in their throats, finally settled, and everyone on stage let out a long sigh of relief.
However, not everyone liked it; amidst the applause, Eric saw some audience members rise and leave.
Including those who had left midway, about sixty or seventy people had walked out before the film ended.
Mixed reviews, controversy is coming!