Portrait of a Lady on Fire (2019)
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Portrait of a Lady on Fire Movie Review
Portrait of a Lady on Fire is a 2019 French historical romance film directed by Celine Sciamma and starring Noemie Merlant and Adele Haenel. It’s an absolute masterpiece.
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“When you’re observing me,
who do you think I’m observing?“
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In 1770 the young daughter of a French countess develops a mutual attraction to the female artist commissioned to paint her wedding portrait. Being set in the 18th century, the film feels timely but still timeless in its portrayal of a doomed romance, but I personally respected the film for being true to its time period by portraying subtly the troubles of the women of the period, and also having a sad ending was necessary for the realism.
This is a very subdued, very nuanced movie that may seem simple, but is actually about so much more than it might seem at first glance. Yes, it’s a lesbian romance and it depicts how forbidden these relationships were back then, but it also touches upon abortion through a couple of graphic, but very memorable scenes. It also explores the role of women in the 18th century society and how even the painters were very limited in what they could paint.
But above all else, this is a romance movie, and one for the ages undoubtedly. Unlike so many lesbian films out there, this one is directed by a lesbian herself, and thus it resists the easy objectification and fetishizing of their romance, but cuts at just the right times without explicitly showing sex. The end result is a tasteful, but still hugely erotic movie as it emphasizes the power of words, imagination and kissing, breathing and so on. It’s a deeply sensual experience.
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Marianne is a painter who has to paint the portrait of this woman who is very mysterious in the best way possible, reminding me so pleasantly of a great book. Although less developed of the two, Marianne is very likable, very emotional and we see through their interactions her struggle with her job in a male-dominated world.
As for Heloise, she is the highlight of the movie. Mysterious, elegant and ultimately a deeply tragic figure, she is very removed at first because she is sad for she is getting married to a man she doesn’t know. The film again never overly explains all of these feelings, but it naturally develops both of these women through their conversations and inner thoughts.
The Countess herself is a very realistic character whereas Luana Bajrami is very likable as the sweet and endearing Sophie. But the work of the two main actresses has got to be fully appreciated by the world as it’s so amazing. As the film is subtle in approach and focusing on facial expressions and slow movements a lot, the actresses really had to sell all of their feelings properly, and they did just that most successfully.
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Both are excellent in their roles with Noemie Merlant being composed and very nuanced whereas Adele Haenel excelled at playing Heloise at her emotionally distant and sad at first, then intrigued, in love and eventually heartbroken. There was a lot of emotion to be had in her role so she in particular needs to be commended for her amazing work, especially in the area of facial expressions.
Watching Portrait of a Lady on Fire feels like reading a great book and watching a cinematic movie all at once in one glorious package. Its emotional resonance, thematic richness and overall nuance helped a lot, but its mood and atmosphere are gloriously created thanks to a huge attention to many immediate details in their surroundings, and a wonderful focus on art itself.
This is the kind of slow movie that is slowly paced, but never at all boring because every moment and every frame is important in and of itself. Nothing here is wasted emotionally speaking and everything progresses the plot and their relationship forward. That’s why its pacing is actually perfect as it lets you in on their inner feelings and helps develop their characters through many small details instead of overtly doing it through exposition.
But the cinematography is probably the main highlight among many highlights here. Yes, this film is absolutely gorgeous, and easy to fall in love with from the very first moment. The secluded location at the sea, the rocks, the huge house, the candles at night, the beautiful, rich costumes and of course the portraits themselves – everything is beautifully accentuated without ever overstaying their welcome. It thus led to this transporting movie as you feel that you not only entered the 18th century, but a living painting as well.
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It’s a tremendously artistic movie with many fantastic tracking shots, and many amazing takes on the characters’ faces that feel deep and moving as they, like a painting itself, tell a thousand words about these women. The movie is also rich with colors appropriately enough for a film about portraits. It’s easily the best-looking film of the year.
The same goes for the director Celine Sciamma. It was essential for this story to be directed by a gay woman, but Celine is also extremely competent at this job overall as she managed to extract two amazing central performances, and simply the flow, the direction and the overall feel of the movie and all its technical aspects are marvelously executed.
It’s an incredibly artistic movie coming from a true artist, and one of French cinema’s finest accomplishments. The minimalist, realistic dialogue is also terrific, the lack of score is fitting and perfect whereas its casual humor is wonderful and very charming. It’s also an extremely romantic movie difficult to resist. There is a lot of memorable imagery and scenes here with the titular scene being one of the standouts along with their first kiss, the ghostly apparitions and a very moving, heartbreaking ending.
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Watching Portrait of a Lady on Fire fittingly enough feels like watching a moving painting and a masterpiece coming to life right in front of your eyes. This is one hugely cinematic film with arresting photography, truly unforgettable imagery and many small details and colors that make the viewing experience both visually appealing and very sensual. It’s phenomenally directed and amazingly acted by its two leads. It’s also commendably nuanced in its dialogue, themes, script and characterization. Above all else, this is one incredibly charming, very moving, undeniably artistic and undoubtedly timeless romance that will stand the test of time as a masterpiece that it clearly is.
