Celine Sciamma’s drama ‘Portrait of a Lady on Fire’ (‘Portrait de la jeune fille en feu’) has its belated UK release this week. Despite receiving universal praise, it is probably unfortunate to be in cinemas at the same time as the more accessible foreign language film, Parasite.
At the end of the 18th century, Marianne (Noemie Merlant) arrives at a remote part of Brittany. An artist, she has been commissioned to paint a portrait of Heloise (Adele Haenel). Recently having left a convent, Heloise has been promised as a wife to a Milanese nobleman, as long as he approves of her when he sees the painting.
She does not want to get married and the last artist who tried to paint her, left without seeing her face. Heloise has been told that Marianne has been brought into accompany her on walks. Marianne has to observe the young woman when they are together and work on her painting in secret later.
I found the first half of the film the most affecting. There is a palpable tension in the air when the two young women are together. Marianne’s glances at her companion clearly become more than observational and there is an electric chemistry between the pair. Things come to a head in an astonishing scene at a nearby festival that features a captivating group song and culminates in Heloise’s dress catching alight. As much as I enjoyed the rest of the film, it couldn’t live up to those few minutes.
Of the performances in the small cast, Merlant stands out. She has a compelling presence that reminded me of a young Romane Bohringer. Luanne Bajrami also makes the most of what could have been a thankless role as Sophie, the maid.
‘Portrait of a Lady on Fire’ is rewarding on a surface level, but it also raises questions about the nature of observation and draws parallels with Orpheus in the underworld. The ending might not work for everyone but it is a bold, and I think, the correct choice.
Rating: 9 out of 10