Portrait of a Lady on Fire
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Portrait of a Lady on Fire

Portrait of a Lady on Fire

Portrait of a Lady on Fire “I don’t know if I can swim,” says Héloïse (Adèle Haenel), but she wants to try, true to the optimistic slogan that human À cause des filles beings find a way to survive when they fall into the water. Her attitude towards the wet element says a lot about the character of the young noblewoman, about her hunger for life and her vulnerability. We literally understand its meaning and also read it as a metaphor for Héloïse’s lack of experience in love and life. Unlike Marianne (Noémie Marchant) – who knows how to swim perfectly, as we see at the beginning – Héloïse has never loved, neither man nor woman. But one thing is certain: she is angry about her arranged marriage to an aristocrat from Milan.

According to the customs of the time, the future wife sends her unknown and distant husband a portrait of herself in oil to seal the pact. Héloïse, however, is stubborn and refuses to pose. His mother (Valeria Golino), therefore, invents a ruse. The painter Marianne will travel to the castle on the deserted island off the coast of Brittany and will pose as Héloïse’s walking companion. Through walks together, on request, Marianne was able to paint the portrait by heart, at night and in secret, in a specially prepared and isolated part of the castle. But little by little an affection develops between women.

It seems useless to underline that painters’ films are usually composed as a sequence of frames in themselves. Incitement But it’s almost impossible not to praise Claire Mathon’s exquisite cinematic landscape and cinematographic art. The turbulent Atlantic Ocean, the wild cliffs near Quiberon, the barren cold of a long uninhabited castle, the chimneys and their golden light falling on captured and shaken faces inside, all framed the camera in artfully staggered shots, in the conquest of spaces that are self-supporting, as well as reflecting the finest emotions.

In addition to being a film about painting, love and the brief utopia of a community free of domination, which also includes the maid Sophie (Luàna Bajrami), Portrait of a Lady on Fire is also a film about cinema . That is to say, on the relationship between (there is a gap between) cinema and painting, on the subtle game of glances, colors and long sequences, which in the best of cases makes dialogue superfluous. Amazing Grace And curiously, director Céline Sciamma’s latest work can even be understood as a film about music. And this, despite the fact that there is not much music and that only in very few dramatically decisive places are voices or instruments used. This corresponds to the attitude towards life of a time when there was no radio or any means of storing sound. “What does an orchestra sound like?” Asks Héloïse, who could only listen to organ music at the monastery school. Marianne gives an answer that remains etched in memory, like many other moments in a wonderful movie.

Duration: 122 min

Release:

IMDb: 8.1

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