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Portrait of a Lady on Fire (2019)


I had heard about Portrait of a Lady on Fire (2019). I'd heard it was good. Heard it was erotic and powerful. It has a 98% score on Rotten Tomatoes. Reviewers used words like, "stirring," and "thought provoking." Those words are like cinematic catnip to me.

Then, last week, I read that it would begin streaming on Hulu. And, amid the great coronavirus lockdown, with ample free time, I talked to the wife about it, and she said, "Oh yeah, I want to watch that, too."

So we did.

I. What Is It?

Marianne (Noemie Merlant) is sent to paint a young woman (Adele Haenel) without her knowledge. The two women begin to spend time together, and their relationship blossoms into something new. This is the story of a painter and her reluctant subject. It is a story of womanhood and love and friendship. And loss.

II. Every Frame A Painting

This is one of the most stunningly crafted films, from a photography perspective, that I have seen in a while. Cinematographer, Claire Mathon, makes every frame of the film feel like a beautiful painting. Figures are framed just so, the colors are lush, the angles and guiding lines enhance the imagery. You could hit pause at almost any point in this film and have a wonderful picture.

Director, and writer, Celine Sciamma, poses her actors just so and choreographs their movement with the movement of Mathon's camera in ways that subtly ratchet up tension and keep the movie lively with a sense of spirit. When the camera is still, there is a purpose. And when it roams, there is a purpose to that, too.

This is a movie about art, and as such, there is an obsession with the details. We do not get to see Heloise's face right away; Marianne is there to paint a portrait of her without her knowledge. We are left, like Marianne, with a sense of mystery and a desperation to get our eyes on the subject. When we DO see Heloise's face, we only get it briefly, or from certain angles, enhancing the sense that Marianne has of trying to memorize her features. The lingering importance of all the curves of an earlobe; the barely-there curvature of a half smile; mannerisms like the way two hands hold each other at rest. The movie dares you to memorize Heloise's features along with Marianne, and pulls you into their blossoming intimacy.

III. A Pair of Powerhouse Performances

Noemie Merlant (Marianne) and Adele Haenel (Heloise) are marvels. They make the most of every stray glance, every whispered word, every arched eyebrow, all in the service of crafting a powerfully intimate love story. Both characters feel alive and vibrant. This story needs strong performances and Merlant and Haenel deliver in spades.

There is a moment at the end of the film where Heloise (Haenel) watches a symphony play. The camera stays rooted on her in-profile face. And the whole of the story washes over her. The acting in this moment is so nuanced and powerful that I was left in awe of it when the credits rolled.

That these women were robbed of nominations from the Academy (which loses relevance year after bungled year) is infuriating.

IV. Stirring and Thought Provoking

There is a scene in the movie where Marianne, Heloise and Sophie (the serving girl) discuss the story of Orpheus and Eurydice. Each woman interprets the story in a different and compelling way: Sophie is angry that Orpheus did the one thing he was told he shouldn't do; Marianne thinks he made the "poet's choice" to savor a memory in lieu of a disappointing reality; Heloise wonders if Eurydice didn't tell Orpheus to turn around, herself.

That story, and the women's interpretations of it, become a central idea of the film. Who is right? What is more important, the reality or the memory? The film delves into these ideas and leaves you thinking about the answers after it's finished.

V. Not For the Male Gaze

This is a sexy movie. And not because there are naked boobies everywhere or extended, pornographic sex scenes. This movie is imbued with an erotic tension born from stellar performances, beautiful writing, and exquisite filmmaking.

This movie was not made for men. Or, rather, it was not made to pander to the male gaze. This is a story about love and passion and life. It isn't to be ogled at, and its women aren't to be exploited. That was so refreshing and powerful. And the thrill you get watching these women fall in love is no less powerful for the lack of exploitive nudity.

There is nudity: this movie is rated R. But the nudity is matter of fact, not sensationalized.

Why You Should See It

- It is one of the most beautifully composed films I have seen. Every frame is a painting, indeed.
- It is a movie of women by women: the performances are staggering, the writing and direction assured and poetic. This movie is the third feature from Celine Sciamma, and I am about to go on a quest to find the other two to watch them as soon as possible.
- It will stay with you, tumbling around your head for some time after the last frame disappears from the screen.
- At 122 minutes, it is suitably epic, without ever wasting time or meandering. The story propels forward with energy and tension, and the viewer is left with the sense that the people at the core of the story have been changed forever. That's great cinema.

In Conclusion

I just checked, and, yeah, this movie was absolutely ignored by the Academy Awards. I thought that maybe it was released too late to qualify. But, no. Just nothing, and that is a goddamned shame.

This is a movie that I am still thinking about days after watching it. The imagery is stuck in my heads. The dialogue echoes in my memory. I got the same sensation after watching this movie that I get after reading a good book.

If you consider yourself a fan of movies, WATCH THIS MOVIE. That's it: GO.


Miscellany

- The paintings in the film were made by actual painter Helene Delmaire, who worked closely with star Noemie Merlant to make sure her performance was authentic. Delmaire painted every day the movie filmed, and later displayed her pieces from that time at the Galerie de Joseph.
- Sciamma purposefully avoided music in the film. She established rhythm visually, with the movement of the bodies and her camera.
- The film already has a Criterion Collection release.

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