By: Keaton Marcus

pREFACE:

This will be the second volume of my “Celebrating Masterpieces” series. As readers may or may not know, I started this off a few weeks ago with Paul Thomas Anderson’s Punch-Drunk Love. Today, I will continue with one of my favorite movies of all-time, Portrait of a Lady on Fire. This film is truly special to me, and not even thousands of words or any detailed analyses could truly describe my love for it.

PREMISE:

France, 1770. Marianne, a painter, is commissioned to do the wedding portrait of Héloïse, a young woman who has just left the convent. Héloïse is a reluctant bride to be and Marianne must paint her without her knowing. She observes her by day, to paint her secretly.

OPINION:

Portrait of a Lady on Fire is a poetic, beautiful and mesmerizing experience. The film flows with such a slow, absorbing, and above all lyrical beauty that sings to audiences. The life and passion that director Celine Sciamma, and especially photographer Claire Mathon bring into this masterpiece are clearly evident. It’s full of feeling, romanticism, and tender love that has audiences go on a long, slow, soothing journey. The way the photography captures the dynamics of the two main character’s relationship with framing is absolutely brilliant, and it does everything in its power to show that the two lovers are equals. Two halves of one romance. No one is superior or more in control. It’s all balanced. The performances from Noémie Merlant and Adèle Haenel evoke so much emotion without much dialogue, and although it may not seem like it, you have to focus on every single frame. From the beginning, I was completely invested in the romance, and the parallels between Orpheus and Eurydice’s fable are gorgeous. The cinematography makes light and shadow flow together seamlessly, the framing and shot choices always have a sort of painterly composition, reminiscent of Marienne’s perfectionistic tendencies, and the colors are always extraordinarily vibrant and intense, symbolizing their enlivening of each other. Everything just fits together so perfectly in one stunning portrait of two women’s love and passion for each other.

MINI-ANALYSIS:

I have already analyzed the entire film, but I did want to show readers some hidden details from one essential aspect to truly understanding this movie. When Marianne sketches Heloise while she’s sleeping, it finally becomes clear that the two mirroring types of relationships: artist and subject/lovers, work in conjunction to fuel their ever-growing love and loyalty for each other. The power dynamic between the two characters are equal, and this isn’t present in other tales of romance because this is the story of two independent women. The equality is simple and un-awkward to achieve, and creates an extra layer of connection between Marianne and Heloise. There are two protagonists that share the screen together and have equal power with one another. Heloise even says, “equality is a pleasant feeling”, conveying their newfound balance in the relationship. This is expertly shown in one of the most iconic moments in the film in which Marianne continues to paint the portrait. However, if you look a little deeper, the shot of Marianne is tight and close, indicating that she’s in charge. In contrast to this, the shot of Heloise is wide and exposed, depicting her vulnerable state as the subject. This is deepened when Marianne points out the various insecurities and body language Heloise does (i.g. bites her lip when she’s annoyed), and it’s obvious who’s in control. Remember, though, the two are utter equals, and when one thing tips the scale, another has to bring it back into place. Heloise then tells Marianne to come to her in the subject’s position, and as the camera zooms on them, she exposes various habits about her! She has completely turned the tables on Marianne. The next shot then frames Marianne as the subject and Heloise as the painter. The moment is a clever and subtle way to balancing out the two characters when one of them practically disturbs the peace.

IN CONCLUSION:

What more can I say? This is a prime example of style and substance working together flawlessly in one big, beautiful movie that transcends expectations with gorgeous simplicity. Its slow, methodic pacing isn’t for everyone, but many have and will appreciate it. Although it has gained some sort of popularity after its initial release two years ago, I feel like it deserves infinitely more affection. For a near directorial debut, and for a film itself, this is something even grander than a masterpiece.