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You are leaving x to a website that is not affiliated with us in any way. Overall, it's a thumbs-up for me. Certainly worth seeing. The film explores the romance that develops between two passionate women who due to their isolation on a remote island in France, experience a serene, yet potentially volatile connection that will surely terminate when Heloise must commit to an arranged marriage.
There was a moment in the film when the women studied the almost completed portrait, and Heloise asks how Marianne would know the painting was completed.
It was a poignant moment, and Marianne's answer was a harbinger of their final moments together - "At one point we stop". When the new Movies You Must See Before You Die book was released, which I had previously finished every title from, I had a feeling I had have a low number of new titles added to watch, and I was relieved there were only two, this French film was one of them.
One of her students asks her about one of her paintings, Marianne calls it "Portrait de la jeune fille en feu" "Portrait of a Lady on Fire". Years previously, Marianne arrives on a distant island in Brittany. Meanwhile, the Countess will be away over the next few days on the mainland. Over the next few days, their romance grows stronger. The orchestra play the Presto from "Summer" from Vivaldi's Four Seasons, the music that Marianne had played for her years before.
Merlant as the beautiful, talented young artist and Haenel as the equally beautiful, troubled aristocrat bride-to-be both give splendid performances, and there is good support from Golino as the slightly scary mother and Bajrami as the amusing maid. It works really well as a story of a developing mutual attraction between the painter and her subject, and the countryside locations and the painting scenes are terrific.
The subjects of suicide and abortion are hard-hitting, but with good pacing, great costumes and scenery, and an interesting unfolding story of passion for art and a person , this is a most recommendable historical romantic drama. Very good! Quinoa 4 March Well, that was What I'll try to bottle up in this is to say this: You know the term "Male Gaze" when it comes to certain a lot, too many filmmakers?
Sciamma showed me what the "Female Gaze" is like in all of its uncompromising hues. More importantly, this is just an artist with a vivid, sometimes surreal and harrowingly romantic point of view - not to mention, these two women are just staggering in what they're able to achieve here. Ok, I'll stop now. A woman who cannot control her destiny Gordon 30 April It tells a story of a woman who cannot control her destiny. It is a little slow, but it is pleasant to watch. CinemaSerf 10 March Having little interest in the prospect, our model refuses to pose, so "Marianne" must find more devious, novel and difficult ways of garnering the images she needs to create her art.
What follows morphs into a love story. The writing is gentle and penetrating and the cinematography is beautiful: the light during the day, brilliant; at night eerily but gloomily authentic and atmospheric. Also outstanding is the use of audio - the howling winds; rain on the windows; the sea crashing - frequently a far more effective method of communication than dialogue.
Sadly, there isn't much jeopardy with the story itself - the inevitability that all will follow the pattern set by her mother - a kindly, but determined Valeria Golino - is never questioned and merely reinforces the almost chattel status even high-born women were accorded in the 18th Century.
A young painter, Marianne, arrives on an island to paint the portrait of Heloise, a woman soon to be married. Heloise does not know a portrait is being made of her. Over time the relationship between the two young women deepens. A fairly predictable French arthouse offering. Being French, being arty, involving two beautiful young women, you pretty much know where this is going to go. Hardly revolutionary - there have been plenty of same-sex romantic dramas before and this is no different.
In fact, it's just another romantic drama, full stop. On the plus side, the cinematography is excellent. Every shot seems like a painting itself and the 18th century outfits complete the impression that you're watching a classic oil painting in motion. It was hard not to come into "Portrait of a Lady on Fire" with really high expectations, given its idolatrous critical reception last year and the fact that I saw it long after it had already appeared at 1 and 2 slots on numerous best-of lists for So maybe that accounts a bit for the fact that I liked it very much but wasn't moved enough by it to include it on my own personal favorites list for the year.
The film is sumptuous in its design, and it's deeply lush and romantic in its themes. It reminded me a bit at times of Jane Campion's film "The Piano" in its exploration of forbidden love and of the deep intimacy that can develop between two people who connect through a mutual understanding of one another's passions. It's about the gazer and the one who's gazed at and the way those roles can switch depending on perspective.
One of the more thought-provoking to me themes it develops is the degree to which the artist is as scrutinized as the subject she chooses for her art. The film is also about women's choices and the lack of them , and pointedly about the right to decide what happens to their own bodies. It's an anthem of female solidarity and empowerment in a cultural moment when people are craving stories like this, so I'm not surprised that it caught the attention of critics and audiences.
It didn't resonate quite as much with me as it clearly did for others, but there's no doubt that it's a quite accomplished and at times beautiful film. Grade: A. Taken by her performance in Deerskin also reviewed I decided to check Adele Haenel's credits, Having heard praise for the title but no knowing what the film was about,I was thrilled to discover that Haenel was one of the leads, which led to me going to the gallery to see the portrait.
View on the film: Drawing in the audience,Adele Haenel gives a exquisite performance as Heloise, whose growing love for Marianne is expressively captured by Haenel with a brittle fragility on keeping a guard to her personal space raised.
Only allowing Marianne build a portrait from passing glimpses, Haenel brilliantly entwines curiosity from the quiet passion which peaks out from Haenel's regal-shield face. Painted into the life of Haenel with the knowledge that not only does she not want a portrait done,but that Haenel is also against the planned marriage, Noemie Merlant gives a enchanting turn as Marianne, whose nervousness over being spotted making the portrait, is threaded by Merlant as a bonding, via them each wanting to retain a personal space, until Merlant has Marianne unveil a portrait of her true feelings.
Closely working with cinematographer Claire Mathon, Sciamma presents a striking portrait of refined tracking shots on the grounds of the household running to the growing romance, which shimmer into ghostly shadows lining Heloise's house. Building on the themes of coming of age and sexual identity which span her credits, the screenplay by Sciamma peels away the self-importance of the Costume Drama to lay bare Heloise and Marianne's romance in raw dialogue which crackles with them sharing a awareness of only having a limited time,before the lady is on fire.
I guess this film really wasn't intended for an ageing heterosexual male but I was vaguely intrigued at the prospect of exploration of the relationship between the painter and their model. As it happens director Celine Sciamma's interests are almost exclusively elsewhere. Even this might have been fine but though it becomes obvious where this is leading, it takes a very long time. Also, the gradual development of a relationship between the two young women is set against a rather drawn out abortion process being suffered by the maid and I can only assume this was there to emphasise what a grubby business a relationship with a man can be.
Never mind that this whole portrait business is so that an Italian gentleman can get a sight of the ex convent girl before he commits. Looks pretty enough but rather shallow and predictable. It's a beauty speaking to all lovers.
I could tell the answer was yes. And that it was now. Portrait of a Lady on Fire gets it almost perfect, and it's Sapphic! All you modest types don't need to worry-writer director Celine Siamma stresses the longing and the dance of love much more than its physicality.
Two young women spend most of this beautiful romance just getting to the first dance, and the journey is as exciting and anguishing as it was for us in those early years of exploring. Late 18th century Marianne has been hired to paint young Heloise Adele Haenel for her wedding portrait. Not that you can't guess what is going to happen while the first portrait is being painted, but the film languishes long and deep on the glances between these two potential lovers.
Those gazes encapsulate the truth of their affections and the high-mindedness of their intentions. Perhaps the business of painting lends the ethereal quality to their love, which is born of the imagination and fleetingly put on canvas forever.
It's just that the slow, loving pace of the camera and the conceit lend a mystery Will they connect? The cinematography, especially of the rugged cliffs and the sea, is well-aligned with the power and danger of their tender love.
Not even mother's Valeira Golino affection for her remote daughter pales next to the burgeoning passion of the leads. Portrait of a Lady on Fire fiercely speaks to the fire, conventional or not, that can burn in all of us. Leave it to film to bring out the love in our hearts. MOscarbradley 5 December You could best describe "Portrait of a Lady on Fire" as an art movie, as opposed to strictly an art-house movie, and 'a women's picture' since it deals both with painting and the very deeply felt relationships between women and it's one of the most beautifully made movies ever made on either subject.
The period is the 18th Century, the setting an island off the coast of Brittany and Marianne is the young artist employed by La Comtesse to paint a portrait of her daughter Heloise but without Heloise knowing she's being painted. Both women are exceedingly beautiful in that plain, simple way women were at a time before Hollywood glamour distorted our image and both actresses, Noemie Merland as Marianne and Adele Haenel, the director's partner, as Heloise , perform with so much simplicity and grace as to appear not to be acting at all.
Naturally a bond grows between them and they fall in love. Yes, it's a love story between two women but it is so much more; it's a film about female friendship, trust and the ability of art to break down barriers. Heloise, first seen from the back in a blue cloak, she could be Sarah Woodruff in "The French Lieutenant's Woman" , thinks Marianne has been hired purely as a companion and initially treats her curtly, she most certainly doesn't want that portrait painted , but in time they grow closer.
Marianne has found her perfect subject while Heloise has found her truest companion. There is also a third main character, a young maid, also beautifully played by Luana Bajrami, who becomes Marianne's confidente and her mistress' friend. This is a movie made by women about women that is both delicate and strong and very modern in its outlook. It's the decor and not the dialogue that tells us we are in the distant past and like a good, post-modern look back at history isn't afraid to be funny now and then.
Aimed perhaps at an art-house audience this is a film that deserves to be seen by everyone; a masterpiece. Pjtaylor 12 April It's a quiet, contemplative drama that never feels burdened by its genre. The romance at its core is evocative of a wider sense of freedom. Indeed, it's as much about love as it is about art, taking a wonderfully feminist approach to both subjects and rendering them with an eye keen enough to make the most profound of portraits.
The film is consistently engaging and often affecting. It's also incredibly well-written and rather poignant, too. Portrait of a Lady on Fire Pelicula Completa. Sie dienen nur zur Information und sind nicht zu Handels- oder Beratungszwecken zu verwenden. Es wurde ein Browserfehler festgestellt. Genre : Drama, Romance, History. Release : Runtime : min.
Production : Lilies Films. Movie Synopsis:.
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