Adèle's life is changed when she meets Emma, a young woman with blue hair, who will allow her to discover desire and to assert herself as a woman and as an adult. In front of others, Adèle grows, seeks herself, loses herself, and ultimately finds herself through love and loss.
In 18th century France a young painter, Marianne, is commissioned to do the wedding portrait of Héloïse without her knowing. Therefore, Marianne must observe her model by day to paint her portrait at night. Day by day, the two women become closer as they share Héloïse's last moments of freedom before the impending wedding.
According to Céline Sciamma, one of the manifestos of the film was to get rid of the idea of a muse, which she considers to be a "nice" word that actually hides the participation of woman in artistry. The muse is typically seen as a silent, fetishized woman who is inspiring just because she is beautiful. And even though for a long time, women's opportunities in art were limited to modeling, she claims that the models were co-creating the art by being one of the brains in the room and helping to guide the artist. Her goal was to portray that and to make a love story and a creation dialogue with equality. See more »
In the second shot, the sky behind the boat captain shows at least two contrails. See more »
I feel something new.
Don't regret. Remember. I'll remember when you fell asleep in the kitchen.
I'll remember your dark look when I beat you at cards.
I'll remember the first time you laughed.
You took your time being funny.
That's true. I wasted time.
I wasted time too. I'll remember the first time I wanted to kiss you.
When was that?
[...] See more »
Concerto No. 2 for violin in G minor, Op. 8, RV 315, L'Estate
Composed by Antonio Vivaldi
Performed by La Serenissima, Adrian Chandler (director/violin) See more »
A majestic portrayal of an impossible love story.
The only conceivable objection to this film is that it is too patient for its message to be received by wider audiences. Portrait of a Lady on Fire aims for arthouse circles' appreciation only, but in that succeeds beyond all expectations. The film comments on the patriach without ever introducing male characters; its sole focus dedicated to the passion between two women who were born into the wrong time - if not the wrong world. Its solemn, stylistic approach gives the film a majestic kind of strength that sticks until long after the credits have rolled.
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