Portrait of a Lady on Fire (2019)

Not since 'Blue is the Warmest Colour' have I been so convinced the people in a film were actually in love with each other with the looks, the gestures, the feelings, the emotions, the beauty. Outstanding performances all round, painting an incredibly enchanting story, the canvass masterly transposed into film alongside the dialogue, the sheer poetry of heartache and love - and a chance to reflect on all those in the past who were denied their opportunity to express who they truly were, because society and religion and government knew better.

Fmovies:

• I've dreamt of that for years.
• Dying?
• Running.

_____________________________

And so begins our introduction to the titular character and her nascent growth into being--a growth beyond the canvas, beyond the parameters of physical isolation, beyond the inescapable predicament of social and family burden. It is a taste of freedom. The beginnings of a liberating journey to find an existential peace from the inner turmoil that, as we learn early on in the film, likely took her own sister's life.

Céline Sciamma's Portrait de La Jeune Fille en Feu is a remarkable film. It is Call Me By Your Name in its judgement-free paradise, palpable sexual tension, and look-into-the-flame Élio catharsis. It is The Favourite in its female-centric, lesbian-tensioned period drama with Vivaldi as a centerpiece (but with a mood far more romanced than Yorgos' unique lavish satirical darkness). It is Persona in its framing of duality and Abbas Kiarostami in its lunar pacing. It is unapologetically feminist: a love story between two souls who happen to be women on an island free of men, including but not limited to an abortion, the subsequent painting of said abortion, and the gentle caressing of armpit hair at center screen.

While not entirely its own, the film is nonetheless brilliant in almost every regard. Cinematography, including framing, color palette, and the dream-like landscape, is stunning. There is a visual language of unspoken glances and facial beauty through close-ups and lighting that parallels the script and brings out the mystique of the enigmatic Héloïse. The story is unveiled so poetically, as if watching the long-restrained passion of the female artist slowly burst from the seams of her oppressive corset of objectification.

'"The "muse" is this fetishized silent woman who is inspiring just because she is beautiful. One of the manifestos of the film is to get rid of this idea of the muse-which is a nice word that actually hides the participation of women in artistry."

• Céline Sciamma, Writer/Director

The nine muses of the Greek Mythology were deities that gave artists, philosophers and individuals the necessary inspiration for creation. One of the nine muses, Calliope, had a son named Orpheus... Sciamma's thought-provoking commentary on women and art is gently told but powerfully received, and it does not go unnoticed.

This film, like a majestic portrait, will remain echoing in your mind like the haunting hymnal Latin chant, "Fugere non possum": I cannot run away.

A powerful movie about women (in love but not only), art and sisterhood.

Portrait of a Lady on Fire fmovies. I watched this film at the 36th Annual JFF (Jerusalem Film Festival) and it was worth it. First, before the review, I want to point out that the movie touched my heart very much. Every scene and scene is pure and very real. The characters in the movie were a revelation to me and I don't doubt that the cast of the two main actresses, as I will explain below, impressed me greatly. Without wasting time, we set off!

* This Review does not include spoilers *

Portrait of a Lady on Fire, directed by Céline Sciamma (Fascinating, by the way) is a period love drama that takes place in 18th century France, when Marianne (the impressive Noémie Merlant), a beautiful young painter, is hired to paint the portrait of Eloise (Adèle Haenel is a high-class revelation) for her upcoming wedding. However, Eloise is not interested in getting married, and therefore refuses to cooperate with the wedding preparations in general, and with the portrait painting in particular. Marianne decides to hide the fact that she is a painter and presents herself as a companion designed to stir Eloise's time. At the same time, she watches her day after day and paints her secretly.

The film is a visual poetry, with a feast for the ears and eyes, each richly textured frame and unique sound design, overpowering the most immersive viewing experience, and I recommend watching cinema instead of sitting in front of a small screen on the comfy couch at home. Every theme in the movie about love and self-discovery of the characters is serious and powerful, the dialogues between the characters are very interesting and very honest. The atmosphere in the film is both realistic and clearly poetic. The relationship between the two main characters is exceptional and also helps build the character of the characters. Noémie Merlant and Adèle Haenel's cast are a revelation and don't see it every day, which makes me want to see them in more movies. Claire Methon's photography was very wonderful, reflecting the historical background of 18th century France. The ending left a mark on the film and this is one of the most amazing and exciting endings I've ever seen.

Had the film been written and directed by someone else (even if it is a man or a woman), the film would have felt fake and pathetic, and the relationship between the characters would have been unreliable. Fortunately, here comes Sciamma, whose feminine perspective and innovative demeanor transform what could have been a time-lapse into the powerful power of art, the enhancement of feminist cinema and the empowerment of modern and early audiences. There were some notable interactions in the film that one, I think, hint at the end of the film, such as a discussion of the significance of the Orpheus and Orodice Greek myth debate. From this it can be concluded that Siama's passion and humanity shows that it is the director's unflattering vision that is her most poetic.

Full of people wonder why the movie is named after that. The truth is, the movie has a lot of meaning. First and foremost, this refers to an actual portrait drawn by the main protagonist, Marianne, but he also cites the film as a cinematic study of the lady in question, Lewis, whose dress is on fire at one point, as if the love and passion she experienced towards Marianne made her shatter Spontaneously brooding.

The film won the Best Screenplay Award and the Queer Palm Award at the 2019 Cannes Film Festival and it deserved to win at all costs.

"Portrait of the Girl on Fire

The acting by the two principle actresses in this movie is first-rate. The direction, though it moves slowly, is very good.

But what made this movie remarkable for me was the cinematography. The most striking scenes feature the blonde character walking along the shore against a relatively light-blue sea. You have to see it to experience how beautiful those scenes are.

But some of the interior scenes have face lighting that will make you think of Rembrandt. (The movie is about a painter, so it's not surprising that the lighting of faces should be very important.)

There are other scenes where you have one deep red dress against a white background, again to very striking effect.

I just saw this movie in France, so with neither dubbing nor subtitles. I don't know how it will work with either of them.

But if you can understand the language - which is very clear, very classic standard French with little background noise behind it - you will discover a remarkable study of two women photographed in a truly astounding manner.

All I can say about this movie is that it is beautiful. From the cinematography to the soundtrack to the acting everything about the movie is perfectly executed creating an emotionally connected experience for the viewer. If you have not yet seen this movie I recommend that you put it at the top of your to watch list because it's what I believe to be one of the best movies of 2019