On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman.On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman.On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman.
- Awards
- 57 wins & 155 nominations total
Videos4
Michèle Clément
- Une paysanneas Une paysanne
- (uncredited)
Cécile Morel
- Une paysanneas Une paysanne
- (uncredited)
- Director
- Writer
- All cast & crew
- See more cast details at IMDbPro
Storyline
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.
- Genres
- Motion Picture Rating (MPAA)
- Rated R for some nudity and sexuality
- Parents guide
Did you know
- TriviaThe paintings by Marianne were all created by painter Hélène Delmaire, whom Noémie Merlant worked closely with to inform her character's perspectives and sight lines when painting.
- GoofsWhen the shipper boxes up the portrait to send to Italy, he uses wire nails. Wire nails weren't invented until the 1860's. He would have used cut nails.
- SoundtracksPortrait de la jeune fille en feu
(Bande originale du film)
Para One, Arthur Simonini
Top review
One of the great films of the 21st century
I haven't written a review in a while because frankly there haven't been too many great movies in recent years to warrant any. But then I watched Portrait de la jeune fille en feu, and found it so revelatory and refreshing that I thought I would add my dollop of daisy to the ocean of praise this film has rightfully been getting.
The film is about a love affair between a painter and her subject, both women, and in a sense it is as simple as that. There is a backdrop of male dominance overhanging the period in which the story is set - the film contains few men, and when they are seen, they appear as benevolent figures. But repression pervades each scene - the subject of the painting is an aristocratic women who is on her way to be married, and yet she isn't thrilled at the prospect and she might not have a choice in the matter. The painter, a young woman, at the end of the film displays her work under the name of her father, unable to present her work under her own name. So the specter of control is injected throughout, although this theme is only hinted at. This subtle touch gives the film an essential underpinning to what is otherwise a beautiful love story.
Some thoughts about the film-making. First: what a beautiful thing to behold. Such refined artistry is a rarity in the days of quick-consumption digital, and it goes to show how the technicians that work behind the camera are as important as what is happening on screen. Each frame is a thing of aesthetic delight, of color coordination, of subtle lighting and design elements all married into a whole. The fact that it was shot in digital rather than a traditional film look for a period piece somehow heightens and modernizes the proceedings in a way that made its most visual moments feel fresh and completely new.
Second, the respect for the audience, to not settle for petty narrative cliches when there were so many opportunities in this story to resort to them. It is one of these very pure and true stories, told with love and respect for the characters as well as those watching them breathe, yet we keep waiting for a moment of emotional violence between the main players, which doesn't occur. When I became aware of how delicate this story was as it unfolded to its end, I was moved to my core.
This is a revolutionary and passionate film on many levels, and I believe those who have seen it can only attest to that. It kind of defies criticism beyond that fact.
The film is about a love affair between a painter and her subject, both women, and in a sense it is as simple as that. There is a backdrop of male dominance overhanging the period in which the story is set - the film contains few men, and when they are seen, they appear as benevolent figures. But repression pervades each scene - the subject of the painting is an aristocratic women who is on her way to be married, and yet she isn't thrilled at the prospect and she might not have a choice in the matter. The painter, a young woman, at the end of the film displays her work under the name of her father, unable to present her work under her own name. So the specter of control is injected throughout, although this theme is only hinted at. This subtle touch gives the film an essential underpinning to what is otherwise a beautiful love story.
Some thoughts about the film-making. First: what a beautiful thing to behold. Such refined artistry is a rarity in the days of quick-consumption digital, and it goes to show how the technicians that work behind the camera are as important as what is happening on screen. Each frame is a thing of aesthetic delight, of color coordination, of subtle lighting and design elements all married into a whole. The fact that it was shot in digital rather than a traditional film look for a period piece somehow heightens and modernizes the proceedings in a way that made its most visual moments feel fresh and completely new.
Second, the respect for the audience, to not settle for petty narrative cliches when there were so many opportunities in this story to resort to them. It is one of these very pure and true stories, told with love and respect for the characters as well as those watching them breathe, yet we keep waiting for a moment of emotional violence between the main players, which doesn't occur. When I became aware of how delicate this story was as it unfolded to its end, I was moved to my core.
This is a revolutionary and passionate film on many levels, and I believe those who have seen it can only attest to that. It kind of defies criticism beyond that fact.
helpful•404
- Camoo
- Feb 4, 2021
Details
- Release date
- Country of origin
- Official sites
- Languages
- Also known as
- Bức Chân Dung Bị Thiêu Cháy
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $3,759,854
- Opening weekend US & Canada
- $67,344
- Dec 8, 2019
- Gross worldwide
- $10,145,200
- Runtime2 hours 2 minutes
- Color
- Aspect ratio
- 1.85 : 1
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