Portrait de la jeune fille en feu ★Hindi★ 
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Director Céline Sciamma
country France
resume In 18th century France a young painter, Marianne, is commissioned to do the wedding portrait of Héloïse without her knowing. Therefore, Marianne must observe her model by day to paint her portrait at night. Day by day, the two women become closer as they share Héloïse's last moments of freedom before the impending wedding
Casts Noémie Merlant
release year 2019
26267 vote
One of the best films of the last 15 years. Utterly astonishing AT SO MANY LEVELS. Movie Watch Portrait de la jeune fille en europe. Les dialogues de ce film sont vraiment un pur délice. Il ne fait pas le choix de l'amoureux, il fait le choix du poète. Film magnifique. A true wholesome artistic portraiture in the cinematic sense, Portrait of a Lady on Fire' delivers earnestly. The painting by Jean-Antoine Watteau 'Pierrot' comes to mind as an influence along with Bresson's flair for capturing human interiors in minimal settings though they are part of a much larger canvas of humanity in which they have been placed through fate. The 'Orpheus and Eurydice' parallel deepens and makes the viewer further understand the inner drama. The film is poetry-in-motion employing the trope of proliferating desire and the spirited rebellion from either characters is shown to be ultimately futile and unfulfilled.
I think when Marianne told Heloise when was the first time she known that Heloise wanted to kiss her. The answer was when Heloise had asked if Marianne had had known love, and that moment, my friends, it was actually the moment when Marianne wanted to kiss Heloise the first time, not Heloise's. Heloise: No, you tell me. (When was the first time you wan to kiss me. J'ai adorééééé ce film. Merci pour l'émotion <3. Movie Watch Portrait de la jeune fille en feu arrière. A really good movie. Sem palavras...
Que des mecs en studio autour d'Adèle ! L'ont fait exprès à France Inter. Movie Watch Portrait de la jeune fille en. 17 minutes of intense gay staring. Un grand merci à Céline Sciamma pour ce film sublime ! Féministe politique contemporain tendre ! Un vrai regard de femme sur les femmes ! Je l ai vu 3 fois. Et. J attends le DVD ! Merci. I catch feeling where its wasn't supposed to be. ?.
Movie Watch Portrait de la jeune fille en feu d'artifice. Movie Watch Portrait de la jeune fille en feu vert. La Mariah Carey est bien connue pour ses caprices et ses exigences de star. Perso, je te foutrai ça dehors avec un coup de pied dans le derrière vite fait. Movie Watch Portrait de la jeune fille en œuvre.
My Rating : 9/10. The use of Rococo-style ornamental composition of cinematography adds to the illusion of fire, motion and drama within the characters. One of the best 17mins of my life...
I literally never wanted this video to end ? absolutely amazing editing, thank you
Every single SCENE in the movie was pure art. a true FEAST FOR THE EYES. Prêmio merecido! Fez brilhantemente seu papel de Marianne. Linda! Eu é agradeço por ter tido a oportunidade de assistir um filme tão lindo, com atrizes tão lindas. I. CAN'T. WAIT. Ce journaliste. a t-il au moins vu le film? Des questions clairement pas à la hauteur de ce chef d'oeuvre! Et pourtant il y avait tant à dire ! Merci Céline Sciamma et toute son équipe.
?????????? Rating: R | Runtime: 121 minutes Release Date: September 18th, 2019 (France) Studio: Pyramide Distribution / Neon Director(s): Céline Sciamma Writer(s): Céline Sciamma Don’t regret. Remember. An eighteenth century Italian countess ( Valeria Golino) still residing at the French estate of her late husband has decided she’d like to return home. The best way to accomplish this is marrying off one of her daughters to an affluent Milanese suitor since doing so would secure both their futures while also providing an excuse to travel east along the Mediterranean. Rather than hear what the young woman has to say about this fate set before her, however, it’s discovered through her actions instead. One untimely death of the body therefore leads to another of the soul as Héloïse ( Adèle Haenel) is removed from her place at a convent to take her sister’s spot at the altar. All that still remains is a portrait to seal the deal. Where sadness drove the deceased to suicide, it’s anger that drives Héloïse. So vehemently against what’s about to happen?not to mention the prison-style seclusion her mother has enforced as a means of protecting this future she’s constructed for them?Héloïse refuses to sit for the painting. The Countess must therefore think outside the box in hiring the daughter of the artist commissioned to create her own wedding portrait decades earlier. By tasking Marianne ( Noémie Merlant) to paint in secret, Héloïse can be fooled into believing this stranger’s appearance is as a companion to keep a watchful eye while finally being allowed to walk outside. By day they spend time together under the sun so memory can supply the images necessary to put oil to canvas at night. Writer/director Céline Sciamma has thus presented a rather straightforward reason to thrust two women into each other’s lives at the start of Portrait de la jeune fille en feu [Portrait of a Lady on Fire]. Héloïse is happy for the distraction and chance to leave her mother’s house for hours at a time considering she’ll more than likely be stuck to another’s four walls in Italy very soon. Marianne is grateful for the opportunity to work and takes pains to ensure her subject doesn’t uncover the clandestine assignment. The former seemingly has nothing to worry about because she’s yet to sit for anyone and the latter is only too obliged to continue her role (a male could never walk alone with Héloïse) under the promise of additional clientele. Everything changes, however, when the moment of truth arrives. Héloïse knows exactly what to say to knock Marianne off-balance. She pushes the painter into a similar position as her own by explaining how the canvas has locked her into a man’s world too. Why was she hired? Because only a woman could get close enough to accomplish the Countess’ goal. Why must the portrait be so staid and lifeless? Because that’s the rule such things must abide by as enforced by men. So as one is ostensibly being sold into marriage, the other finds herself a passenger to a vocation she isn’t allowed to excel at without subterfuge. Rather than be a symbol of the woman depicted, the painting ultimately epitomizes the patriarchal norms they’re helpless to combat. With the scrub of a cloth, Marianne ruins the piece in a bid to start fresh. Now that she’s just as angry as her subject, Héloïse even agrees to sit. Finally the two are on equal footing, their struggles and false sense of freedom made transparent. The Countess has no choice but to give them five days to complete a new commission while she’s abroad. This time they will get to know one another removed from the roles dictated to them. They’ll have the ability to interact with their servant Sophie ( Luàna Bajrami) on a human level away from employers’ watchful gaze. And they’ll look into each other’s eyes with every shred of pretense dissolved to expose a shared desire for a love their gender is denied. It’s from this desire that passion and romance enters the equation to give each woman that which she covets most (and wasn’t certain they could achieve) despite knowing there’s no way they’d be allowed to keep it within their grasp. Does it being forbidden stop it from being worthwhile? Does their having to part and possibly never meet again render their feelings any less powerful? This is a once in a lifetime love that frustration and resentment can risk destroying in hindsight as long as the memory of what was shared becomes permanent in their hearts. To claim even one solitary second of it together with nothing but a glance will be worth whatever sorrow might arise from knowing that the feeling would be lost forever. That’s why art can be so enchanting. Paint traps emotions in its pigment to create a reminder of what was and can’t be erased. The portrait will hold a personal jolt of electricity simply by being the product of these two women. A sketch will provide a mirror onto the past that cannot be stolen even if its physical counterpart is. But the same holds true for a song’s melody able to touch you deeply enough to conjure tears or Sciamma’s own film as a representation of the figurative fire burning within this era’s women to break loose and live a life of their own without any connection to “duty. ” Suddenly the anger that wouldn’t leave Héloïse’s face and in turn Marianne’s own emblematizes their devotion. And we see it in Merlant and Haenel’s expressions whether looking at one another on the beach without love in their hearts or standing across a bonfire that itself becomes a metaphor for their desire. Claire Mathon ‘s cinematography gorgeously captures the French countryside as wind gusts while also bringing us closer to these women indoors under hearth fire and candlelight. Sciamma even adds a subplot of abortion to display exactly how different Héloïse and Marianne are from the former’s mother as far as her allowing herself to be entrenched in this world as “lesser than. ” This week beside Sophie gives Héloïse and Marianne the freedom to claim what they want for no reason but greed. Their Orpheus and Eurydice know one guaranteed moment is worth countless missed chances. photography: courtesy of Neon.
On October 27, 2019 ? I love lesbian romance movies. Please, hear me out before you think I’m a total sleaze. As a gay man, there’s no “entry point” for me in queer love stories involving two women. I am taken out of contention to truly place myself in the position of either party in the love story. I do not know what it means to be a woman, nor do I know what it means to love a woman. This leaves only one point of contention to make the film engaging: it has to be good. When it comes to queer love stories in film, regardless of gender (if gender is even involved at all), there’s an eloquence that has to be spoken not only in words and actions but in an understanding of the intimacy and societal rebellion that comes in the sheer act of being queer. That’s not to say that all people who make films about queer people and/or their love affairs have to be queer to tell authentic, moving stories (ex. Barry Jenkins’s Moonlight), but it certainly doesn’t hurt, does it? Adèle Haenel and Noémie Merlant in Céline Sciamma’s PORTRAIT OF A LADY ON FIRE. Photo courtesy of NEON + MK2. Yet, it feels even truer when it comes to love stories involving queer women. Throughout history, queerness in women has been fetishized for the male gaze in all forms of media, from the most innocent of children’s media to the darkest, nastiest pornography imaginable. Even my favorite romance film of the modern age, Blue is the Warmest Color (La vie d’Adèle ? Chapitres 1 & 2), has been rightly criticized for its excessively long and graphic sex scene which feels more exploitative than intimate. It’s a scene that brings the moving emotion of the film to a screeching halt for 4% of its already extended three-hour runtime. It’s a sobering reminder that the film is directed by a man who views sex between two women through a fetishized male gaze. Even when I revisit the film, I find myself skipping the scene, as it takes me too much out of the intensely emotional story at hand that is handled so perfectly otherwise. Enter Portrait of a Lady on Fire (Portrait de la jeune fille en feu), a queer female love story crafted from the inside out by a queer woman, Céline Sciamma. Set in the late 18th century on a remote island off the coast of Brittany in France, Portrait of a Lady on Fire follows Marianne (Noémie Merlant), a young painter tasked with painting a portrait of Héloïse (Adèle Haenel), a wealthy young woman poised to be married to a man in Milan, should he find her portrait pleasing. The previous painter found painting Héloïse to be impossible due to her resistance to posing, protesting her potential arranged marriage. Marianne is tasked by Héloïse’s mother to paint her without her knowing, picking up on her features and mannerisms under the guise of being a companion for walks following her sister’s suicide to paint a picture by memory. While their relationship begins tense, Marianne and Héloïse soon begin to discover, in the solitude of the island, that they are the only ones that have ever understood each other on the level of love that Héloïse is resisting being forced into. And thus, an impermissible love affair begins. Luana Bajrami and Noémie Merlant in Céline Sciamma’s PORTRAIT OF A LADY ON FIRE. Photo courtesy of NEON + MK2. Put frankly, there has not been a film like Portrait of a Lady on Fire this year so far, and I do not believe that there will be another like it for a very long time. This is a film so entrenched in sensual bliss that it’s hard not to immediately be swept up in its beautiful glory. The beauty of Portrait of a Lady on Fire comes in its restraint in telling the tale of love, not just in the film’s sexual content (or lack thereof, really), but in how the film takes its time to build the relationship between Marianne and Héloïse. This isn’t some haphazardly crafted love story that begins with love at first sight, but is a film that details the reality of the build-up and breakdown of what love actually is beyond the surface level. Marianne and Héloïse aren’t experiencing a fling or a phase, but rather a mutual awakening of parts of their being yet untapped in their respectively sheltered lives. This awakening isn’t your typical “Wow, I can’t believe I’m queer! ” type of awakening as is so often covered in queer romance films, but a much deeper, more heartfelt realization that a woman’s life can be her own in the same way a man’s can be. Noémie Merlant in Céline Sciamma’s PORTRAIT OF A LADY ON FIRE. Photo courtesy of NEON + MK2. In fact, Portrait of a Lady on Fire doesn’t seek to hash out the semantics of sexuality between the two leads. This is not a film that seeks to make a grand political statement on the nature of queerness in the 18th century, but is a film that simply works as a love story, bereft of societal constraints. This frees the film from being yet another queer film that could be classified as “trauma porn, ” and opens it up to show that queer people were allowed to be happy at any point in time, even if the encroaching shadow of society still loomed over them quietly. Regardless, Portrait of a Lady on Fire would be nothing without the dedication of its two leads, who both deliver quietly ravishing, yet entirely distinct performances. What’s so thrilling to watch between the two actresses is the melding of their characters into a single being during their love affair. Merlant’s performance as Marianne starts with timid professionalism that closes her off to any form of vulnerability. Haenel’s approach to Héloïse is what can only be described as “torturedly whimsical, ” playing sometimes cruel games with Marianne’s naïveté, such as running full speed towards a cliff, mimicking her sister’s own demise to get her attention upon first meeting. Marianne’s serious streak and Héloïse’s playful rejection of the expectations of polite society soon begin to rub off on one another, creating a powerful mirror-like image that takes shape in perhaps one of the most stunning final shots of any movie this year. Noémie Merlant and Adèle Haenel in Céline Sciamma’s PORTRAIT OF A LADY ON FIRE. Photo courtesy of NEON + MK2. It’s obvious from the start that Portrait of a Lady on Fire is going to be an objectively beautiful film from the setting alone, a secluded isle off the coast of France. The film itself could take place during any age and still make sense in context, but here, there’s a brightness and cleanness about the film that rejects any sort of notion of filth that often seems to pervade period films. There’s an exquisite bareness to the way that Sciamma and cinematographer Claire Mathon shoot the film. We aren’t inundated with grand baroque structures displaying immense wealth, but are treated to a neutral manor bathed in immense sunlight. Portrait of a Lady on Fire doesn’t have to be flashy to immerse you, as the story already does that. What it does is take the reality of the world around the characters and paints it with a beautiful sense of light and depth that lacks the pretense of prestige period pieces. The film also lacks a musical score, leaning solely on the sounds of the waves crashing on the shore, the wind blowing amongst the trees, the creaking of an old house at night, and the bated breaths of two people in love. Interestingly, unlike other films lacking a musical score à la mother! or The Birds, I did not notice the lack of music until the single scene involving diegetic music, a stunningly angelic piece sung around a campfire by the women of the island. This brings attention to the sound in such a jarring, arresting manner that, should it not garner a nomination, let alone a win, for Best Original Song at the Academy Awards next year, I shall finally know that the awards are rigged (just kidding…kind of). Simply put, Portrait of a Lady on Fire is hands down the best film that I had the privilege of seeing at Film Fest 919 this year, or perhaps any film this year period. This is a gobsmacking piece of cinema that steamrolls through your heart at an agonizing pace. Every aspect of this film, from the first frame to the final title card, is adeptly formed from Sciamma, Merlant, and Haenel. It’s a film that speaks true to the queer experience in a way that is still accessible for non-queer audiences to be swept away in, as well. This is a film that adapts the human experience of love through the lenses of visual art and the power the craft can hold over people. The film also speaks to the unique experience of femininity during a time of repression and silencing of women, utilizing the voices and presence of women almost exclusively during its runtime. This is not a film to be taken lightly, nor is it a film that drags you down and knocks you out to prove a point about the nature of queer emotion within society. Portrait of a Lady on Fire is a paradox of a film that explores human tenderness and quiet sensuality in a way that I’m not sure I’ve felt before on screen. It’s a sensory experience of romantic fervor that is unforgettable in every single possible way. In select theaters beginning December 6th, 2019. Final Score: 5 out of 5. Categories: In Theaters, Reviews Tags: Adèle Haenel, Céline Sciamma, drama, Film Fest 919, film festival, foreign film, Lilies Films, Luana Bajrami, Neon, Noémie Merlant, Portrait de la jeune fille en feu, Portrait of a Lady on Fire, Valeria Gorino.
Il est en manque pour parler que de cul, y a pas que ça ! elle a raison, les femmes sont toujours ramenées à leurs corps et c'est lourd. Très beau film et le jeu des actrices est impressionnant. Love them. I wish I could understand what they're saying. google translation does not really do the job well. Both lead actresses really portrayed well their characters & made me cried because the end part of the movie sort of leaving the answer to the viewers. Movie Watch Portrait de la jeune fille en fer forgé.
With the excuse it's in the past it also allows to show us, different bodies and standards, witches, etc. Ce film est absolument magnifique et fascinant. les 2h sont passées beaucoup trop vite pour moi. YouTube. Movie Watch Portrait de la jeune fille en ferme. The photography, every frame is like a painting, everything carefully planned. Saw it today. Masterpiece.
Musze to obejrzec! ?. Una bella película! Wonderful film! Filme lindo. The film rids the viewer from the modern world and transports them to a much different time and place - truly a sacred refuge for the senses. Movie Watch Portrait de la jeune fille en feu rouge. From the start of the movie, be sure to pay attention on the sounds, the whole movie is ASMR, the brushes, the fireplaces, voices. Movie Watch Portrait de la jeune fille en fête. This movie is a French period piece and it tells the simple tale of a female artist commissioned to paint the future wife of a Duke. The artist travels to the woman's seaside place of residence and the movie covers the period of the painting of the canvas and the initially touchy, but ultimately loving, relationship that develops between these two young women.
Published by: Megan Thee Hamilton
Bio: I'm a perfctionist
?????????? Rating: R | Runtime: 121 minutes Release Date: September 18th, 2019 (France) Studio: Pyramide Distribution / Neon Director(s): Céline Sciamma Writer(s): Céline Sciamma Don’t regret. Remember. An eighteenth century Italian countess ( Valeria Golino) still residing at the French estate of her late husband has decided she’d like to return home. The best way to accomplish this is marrying off one of her daughters to an affluent Milanese suitor since doing so would secure both their futures while also providing an excuse to travel east along the Mediterranean. Rather than hear what the young woman has to say about this fate set before her, however, it’s discovered through her actions instead. One untimely death of the body therefore leads to another of the soul as Héloïse ( Adèle Haenel) is removed from her place at a convent to take her sister’s spot at the altar. All that still remains is a portrait to seal the deal. Where sadness drove the deceased to suicide, it’s anger that drives Héloïse. So vehemently against what’s about to happen?not to mention the prison-style seclusion her mother has enforced as a means of protecting this future she’s constructed for them?Héloïse refuses to sit for the painting. The Countess must therefore think outside the box in hiring the daughter of the artist commissioned to create her own wedding portrait decades earlier. By tasking Marianne ( Noémie Merlant) to paint in secret, Héloïse can be fooled into believing this stranger’s appearance is as a companion to keep a watchful eye while finally being allowed to walk outside. By day they spend time together under the sun so memory can supply the images necessary to put oil to canvas at night. Writer/director Céline Sciamma has thus presented a rather straightforward reason to thrust two women into each other’s lives at the start of Portrait de la jeune fille en feu [Portrait of a Lady on Fire]. Héloïse is happy for the distraction and chance to leave her mother’s house for hours at a time considering she’ll more than likely be stuck to another’s four walls in Italy very soon. Marianne is grateful for the opportunity to work and takes pains to ensure her subject doesn’t uncover the clandestine assignment. The former seemingly has nothing to worry about because she’s yet to sit for anyone and the latter is only too obliged to continue her role (a male could never walk alone with Héloïse) under the promise of additional clientele. Everything changes, however, when the moment of truth arrives. Héloïse knows exactly what to say to knock Marianne off-balance. She pushes the painter into a similar position as her own by explaining how the canvas has locked her into a man’s world too. Why was she hired? Because only a woman could get close enough to accomplish the Countess’ goal. Why must the portrait be so staid and lifeless? Because that’s the rule such things must abide by as enforced by men. So as one is ostensibly being sold into marriage, the other finds herself a passenger to a vocation she isn’t allowed to excel at without subterfuge. Rather than be a symbol of the woman depicted, the painting ultimately epitomizes the patriarchal norms they’re helpless to combat. With the scrub of a cloth, Marianne ruins the piece in a bid to start fresh. Now that she’s just as angry as her subject, Héloïse even agrees to sit. Finally the two are on equal footing, their struggles and false sense of freedom made transparent. The Countess has no choice but to give them five days to complete a new commission while she’s abroad. This time they will get to know one another removed from the roles dictated to them. They’ll have the ability to interact with their servant Sophie ( Luàna Bajrami) on a human level away from employers’ watchful gaze. And they’ll look into each other’s eyes with every shred of pretense dissolved to expose a shared desire for a love their gender is denied. It’s from this desire that passion and romance enters the equation to give each woman that which she covets most (and wasn’t certain they could achieve) despite knowing there’s no way they’d be allowed to keep it within their grasp. Does it being forbidden stop it from being worthwhile? Does their having to part and possibly never meet again render their feelings any less powerful? This is a once in a lifetime love that frustration and resentment can risk destroying in hindsight as long as the memory of what was shared becomes permanent in their hearts. To claim even one solitary second of it together with nothing but a glance will be worth whatever sorrow might arise from knowing that the feeling would be lost forever. That’s why art can be so enchanting. Paint traps emotions in its pigment to create a reminder of what was and can’t be erased. The portrait will hold a personal jolt of electricity simply by being the product of these two women. A sketch will provide a mirror onto the past that cannot be stolen even if its physical counterpart is. But the same holds true for a song’s melody able to touch you deeply enough to conjure tears or Sciamma’s own film as a representation of the figurative fire burning within this era’s women to break loose and live a life of their own without any connection to “duty. ” Suddenly the anger that wouldn’t leave Héloïse’s face and in turn Marianne’s own emblematizes their devotion. And we see it in Merlant and Haenel’s expressions whether looking at one another on the beach without love in their hearts or standing across a bonfire that itself becomes a metaphor for their desire. Claire Mathon ‘s cinematography gorgeously captures the French countryside as wind gusts while also bringing us closer to these women indoors under hearth fire and candlelight. Sciamma even adds a subplot of abortion to display exactly how different Héloïse and Marianne are from the former’s mother as far as her allowing herself to be entrenched in this world as “lesser than. ” This week beside Sophie gives Héloïse and Marianne the freedom to claim what they want for no reason but greed. Their Orpheus and Eurydice know one guaranteed moment is worth countless missed chances. photography: courtesy of Neon.
On October 27, 2019 ? I love lesbian romance movies. Please, hear me out before you think I’m a total sleaze. As a gay man, there’s no “entry point” for me in queer love stories involving two women. I am taken out of contention to truly place myself in the position of either party in the love story. I do not know what it means to be a woman, nor do I know what it means to love a woman. This leaves only one point of contention to make the film engaging: it has to be good. When it comes to queer love stories in film, regardless of gender (if gender is even involved at all), there’s an eloquence that has to be spoken not only in words and actions but in an understanding of the intimacy and societal rebellion that comes in the sheer act of being queer. That’s not to say that all people who make films about queer people and/or their love affairs have to be queer to tell authentic, moving stories (ex. Barry Jenkins’s Moonlight), but it certainly doesn’t hurt, does it? Adèle Haenel and Noémie Merlant in Céline Sciamma’s PORTRAIT OF A LADY ON FIRE. Photo courtesy of NEON + MK2. Yet, it feels even truer when it comes to love stories involving queer women. Throughout history, queerness in women has been fetishized for the male gaze in all forms of media, from the most innocent of children’s media to the darkest, nastiest pornography imaginable. Even my favorite romance film of the modern age, Blue is the Warmest Color (La vie d’Adèle ? Chapitres 1 & 2), has been rightly criticized for its excessively long and graphic sex scene which feels more exploitative than intimate. It’s a scene that brings the moving emotion of the film to a screeching halt for 4% of its already extended three-hour runtime. It’s a sobering reminder that the film is directed by a man who views sex between two women through a fetishized male gaze. Even when I revisit the film, I find myself skipping the scene, as it takes me too much out of the intensely emotional story at hand that is handled so perfectly otherwise. Enter Portrait of a Lady on Fire (Portrait de la jeune fille en feu), a queer female love story crafted from the inside out by a queer woman, Céline Sciamma. Set in the late 18th century on a remote island off the coast of Brittany in France, Portrait of a Lady on Fire follows Marianne (Noémie Merlant), a young painter tasked with painting a portrait of Héloïse (Adèle Haenel), a wealthy young woman poised to be married to a man in Milan, should he find her portrait pleasing. The previous painter found painting Héloïse to be impossible due to her resistance to posing, protesting her potential arranged marriage. Marianne is tasked by Héloïse’s mother to paint her without her knowing, picking up on her features and mannerisms under the guise of being a companion for walks following her sister’s suicide to paint a picture by memory. While their relationship begins tense, Marianne and Héloïse soon begin to discover, in the solitude of the island, that they are the only ones that have ever understood each other on the level of love that Héloïse is resisting being forced into. And thus, an impermissible love affair begins. Luana Bajrami and Noémie Merlant in Céline Sciamma’s PORTRAIT OF A LADY ON FIRE. Photo courtesy of NEON + MK2. Put frankly, there has not been a film like Portrait of a Lady on Fire this year so far, and I do not believe that there will be another like it for a very long time. This is a film so entrenched in sensual bliss that it’s hard not to immediately be swept up in its beautiful glory. The beauty of Portrait of a Lady on Fire comes in its restraint in telling the tale of love, not just in the film’s sexual content (or lack thereof, really), but in how the film takes its time to build the relationship between Marianne and Héloïse. This isn’t some haphazardly crafted love story that begins with love at first sight, but is a film that details the reality of the build-up and breakdown of what love actually is beyond the surface level. Marianne and Héloïse aren’t experiencing a fling or a phase, but rather a mutual awakening of parts of their being yet untapped in their respectively sheltered lives. This awakening isn’t your typical “Wow, I can’t believe I’m queer! ” type of awakening as is so often covered in queer romance films, but a much deeper, more heartfelt realization that a woman’s life can be her own in the same way a man’s can be. Noémie Merlant in Céline Sciamma’s PORTRAIT OF A LADY ON FIRE. Photo courtesy of NEON + MK2. In fact, Portrait of a Lady on Fire doesn’t seek to hash out the semantics of sexuality between the two leads. This is not a film that seeks to make a grand political statement on the nature of queerness in the 18th century, but is a film that simply works as a love story, bereft of societal constraints. This frees the film from being yet another queer film that could be classified as “trauma porn, ” and opens it up to show that queer people were allowed to be happy at any point in time, even if the encroaching shadow of society still loomed over them quietly. Regardless, Portrait of a Lady on Fire would be nothing without the dedication of its two leads, who both deliver quietly ravishing, yet entirely distinct performances. What’s so thrilling to watch between the two actresses is the melding of their characters into a single being during their love affair. Merlant’s performance as Marianne starts with timid professionalism that closes her off to any form of vulnerability. Haenel’s approach to Héloïse is what can only be described as “torturedly whimsical, ” playing sometimes cruel games with Marianne’s naïveté, such as running full speed towards a cliff, mimicking her sister’s own demise to get her attention upon first meeting. Marianne’s serious streak and Héloïse’s playful rejection of the expectations of polite society soon begin to rub off on one another, creating a powerful mirror-like image that takes shape in perhaps one of the most stunning final shots of any movie this year. Noémie Merlant and Adèle Haenel in Céline Sciamma’s PORTRAIT OF A LADY ON FIRE. Photo courtesy of NEON + MK2. It’s obvious from the start that Portrait of a Lady on Fire is going to be an objectively beautiful film from the setting alone, a secluded isle off the coast of France. The film itself could take place during any age and still make sense in context, but here, there’s a brightness and cleanness about the film that rejects any sort of notion of filth that often seems to pervade period films. There’s an exquisite bareness to the way that Sciamma and cinematographer Claire Mathon shoot the film. We aren’t inundated with grand baroque structures displaying immense wealth, but are treated to a neutral manor bathed in immense sunlight. Portrait of a Lady on Fire doesn’t have to be flashy to immerse you, as the story already does that. What it does is take the reality of the world around the characters and paints it with a beautiful sense of light and depth that lacks the pretense of prestige period pieces. The film also lacks a musical score, leaning solely on the sounds of the waves crashing on the shore, the wind blowing amongst the trees, the creaking of an old house at night, and the bated breaths of two people in love. Interestingly, unlike other films lacking a musical score à la mother! or The Birds, I did not notice the lack of music until the single scene involving diegetic music, a stunningly angelic piece sung around a campfire by the women of the island. This brings attention to the sound in such a jarring, arresting manner that, should it not garner a nomination, let alone a win, for Best Original Song at the Academy Awards next year, I shall finally know that the awards are rigged (just kidding…kind of). Simply put, Portrait of a Lady on Fire is hands down the best film that I had the privilege of seeing at Film Fest 919 this year, or perhaps any film this year period. This is a gobsmacking piece of cinema that steamrolls through your heart at an agonizing pace. Every aspect of this film, from the first frame to the final title card, is adeptly formed from Sciamma, Merlant, and Haenel. It’s a film that speaks true to the queer experience in a way that is still accessible for non-queer audiences to be swept away in, as well. This is a film that adapts the human experience of love through the lenses of visual art and the power the craft can hold over people. The film also speaks to the unique experience of femininity during a time of repression and silencing of women, utilizing the voices and presence of women almost exclusively during its runtime. This is not a film to be taken lightly, nor is it a film that drags you down and knocks you out to prove a point about the nature of queer emotion within society. Portrait of a Lady on Fire is a paradox of a film that explores human tenderness and quiet sensuality in a way that I’m not sure I’ve felt before on screen. It’s a sensory experience of romantic fervor that is unforgettable in every single possible way. In select theaters beginning December 6th, 2019. Final Score: 5 out of 5. Categories: In Theaters, Reviews Tags: Adèle Haenel, Céline Sciamma, drama, Film Fest 919, film festival, foreign film, Lilies Films, Luana Bajrami, Neon, Noémie Merlant, Portrait de la jeune fille en feu, Portrait of a Lady on Fire, Valeria Gorino.
Il est en manque pour parler que de cul, y a pas que ça ! elle a raison, les femmes sont toujours ramenées à leurs corps et c'est lourd. Très beau film et le jeu des actrices est impressionnant. Love them. I wish I could understand what they're saying. google translation does not really do the job well. Both lead actresses really portrayed well their characters & made me cried because the end part of the movie sort of leaving the answer to the viewers. Movie Watch Portrait de la jeune fille en fer forgé.
I haven't watched the film but my interpretation from the title is that portrait of a lady on fire was the description or the name of her painting and metaphorically also meaning that she was deep in love and had a fire of passion burning in her. (I'll definitely watch it though.Celine is so funny ugh I love her. Movie Watch Portrait de la jeune fille en euros. For the first the, i watched a movie 3 times in theatre. I thought love themed movies was lame before that and now it completes my soul. Selon vous, qu'est-ce que toutes ces femmes pouvaient bien fêter autour d'un feu en pleine nuit en bavardant et en buvant pour se mettre à chanter par la suite ? Je veux dire, y a-t-il une festivité réelle bretonne ayant inspiré la réalisatrice. A cinematic triumph filled with extraordinary performances and eye catching cinematography, which ferociously deals with the meaning art in our lives. The movie signifies the importance of art and what art represents in our life. The director beautifully tells a story about artistic love through a medium of art (cinema.
With the excuse it's in the past it also allows to show us, different bodies and standards, witches, etc. Ce film est absolument magnifique et fascinant. les 2h sont passées beaucoup trop vite pour moi. YouTube. Movie Watch Portrait de la jeune fille en ferme. The photography, every frame is like a painting, everything carefully planned. Saw it today. Masterpiece.
Musze to obejrzec! ?. Una bella película! Wonderful film! Filme lindo. The film rids the viewer from the modern world and transports them to a much different time and place - truly a sacred refuge for the senses. Movie Watch Portrait de la jeune fille en feu rouge. From the start of the movie, be sure to pay attention on the sounds, the whole movie is ASMR, the brushes, the fireplaces, voices. Movie Watch Portrait de la jeune fille en fête. This movie is a French period piece and it tells the simple tale of a female artist commissioned to paint the future wife of a Duke. The artist travels to the woman's seaside place of residence and the movie covers the period of the painting of the canvas and the initially touchy, but ultimately loving, relationship that develops between these two young women.
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Published by: Megan Thee Hamilton
Bio: I'm a perfctionist
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