“Portrait of a Lady on Fire” is available to watch or rent on most streaming services.
Telling the story of an intoxicating affair between two 18th Century women, Céline Sciamma directs Noémie Merlant and Adèle Haenel in this passionate drama. After premiering at the 2019 Cannes Film Festival, the film went on to win the ‘Queer Palm’ and ‘Best Screenplay.’ It also received nominations for nine ‘César’ awards and a ‘BAFTA’ film award. “Portrait of a Lady on Fire” (“Portrait de la jeune fille en feu,” original title) also marks the third collaboration between Haenel and Sciamma, both previously working on the 2007 drama “Water Lillies” and the short film “Pauline.”
Set on an isolated island in Brittany, a young painter, Marianne (Noémie Merlant), is tasked to paint a wedding portrait of Héloïse (Adèle Haenel) without her knowledge. Marianne must discreetly observe her model as she works under the illusion of companionship. But as feelings between the two women flourish, an ardent romance begins between the two.
An Exquisite Portrait of a Film
Shot in 7K, nearly every shot in the film resembles a painting. Cinematographer Claire Mathon makes sure none of the lighting comes off too harsh; she does a splendid job of making the light seem natural in exterior and interior shots. The smooth camera movements help immerse the viewer in the scene as the camera follows the characters. Additionally, the lack of cuts within these shots helps the audience feel like they’re watching each sequence as it unfolds. Diegetic sound also plays a role in drawing in the viewer. Mixed with the absence of a score, it helps the viewer feel like they’re right there with Marianne and Héloïse. Sciamma stated the reason the film lacks a score is so that viewers can be obsessed with the rhythm of each scene in both the body movements and the camera.
Throughout the film, both women each have a main outfit. Marianne wears a refined, red dress, a colour that directly opposes Héloïse’s vibrant green dress. Both fabric-heavy garments are perfectly juxtapositioned in terms of colour and style; each representing the character’s personality. As well its filming location in an 18th Century castle, the costumes emphasise the authenticity of the film. Noémie Merlant and Adèle Haenel both give incredible performances across the film. Luàna Bajrami gives a great performance as the housemaid (*mild spoilers ahead*) whom Héloïse and Marianne help to get an abortion.
Sciamma does a great job bringing delicate themes to the forefront of this film, including abortion and arranged marriage, both of which were issues that women faced in the 18th Century. The director handles these sensitive themes with care and doesn’t glorify them. The story of Orpheus and Eurydice also holds some importance to the story. For example, both women choose the memory of each other; when Marianne leaves Héloïse, Héloïse asks Marianne to turn around, like how Eurydice asks Orpheus to turn around.
A Love Letter to the Female Gaze
Something viewers might notice is the distinct lack of men in the film. In the few scenes where male characters are present, they’re out of focus or have their backs to the camera. This is to support the fact that the film is a love letter to the female gaze. Sciamma doesn’t over sexualize the relationship between these two women; as a result, any nudity featured feels incredibly natural.
Viewers will pick up on the suggestive imagery present through the film, the most obvious the scene in which an armpit is made to look like a piece of the female anatomy.
Overall, “Portrait of a Lady on Fire” is an erotic, sensual love story between two women in a short-lived affair. Sciamma brings viewers a story that delves into the exploration of love and its inevitable departure. Films that have a resemblance to “POALOF” in terms of its central love story include the 2017 drama “Disobediance” and Francis Lee’s 2019 feature “Ammonite.” Helmed by brilliant performances and artistic cinematography, the film is a visually stunning feature that spans over 120 minutes.
