Mubi Monday: Portrait Of A Lady On Fire (2019)

I approached Portrait Of A Lady On Fire with no small amount of trepidation. Nothing to do with what could or couldn't be in the film (I actually had no idea), but more to do with the overwhelming praise it had already received from all corners. That sometimes sets you up for a disaster. What if you like it, but don't love it? What if you don't like it? Everyone should form their own opinions about art, but when your opinion is contrary to that of almost everyone else it can lead to some creeping insecurity about your own perception and filters.

I can breathe a sigh of relief now, because Portrait Of A Lady On Fire is very good indeed. Phew. I might still get into some interesting conversations, however, as I couldn't see how it garnered QUITE the level of praise that has been heaped upon it.

Written and directed by Céline Sciamma (I have previously enjoyed Tomboy, although others have found that one a bit problematic), the film tells the story of a young painter (Marianne, played by Noémie Merlant) tasked with painting the portrait of a young woman (Héloïse, played by Adèle Haenel) who is due to be married to a gentleman from Milan. Héloïse has previously refused to be painted, she really isn't keen on the marriage that has been arranged for her, something set up rather hastily after the death of her older sister, and that means Marianne has to observe her subject more closely, pretending to be a companion as she observes everything that she hopes she can then use to create the portrait. She is helped in her scheme by Sophie (Luàna Bajrami), a young maid who seems happy to help, especially as the artist and unwitting subject spend more time together and form a stronger connection.

There's certainly plenty to enjoy here, with the lead performances being right at the top of that list. Both Merlant (destined to be played by Emma Watson in any English-language remake, surely) and Haenel doing superb work with a script that conveys more with the silent moments than it does with the actual dialogue. Bajrami is equally good, and her small role is expanded for a couple of important and interesting scenes, and I was pleased to recognise Valeria Golino in a strong supporting role, playing the Countess/mother of Héloïse.

Sciamma has a great eye, composing many of the scenes in a way fitting for a film about an artist striving to create a piece that would become her most important work. A recurring vision is particularly striking, and shown again towards the end in a context that shows how things were being foreshadowed, and the film often feels as if it is made up of firelight and shadows (one of the main posters even takes a frame from one specific moment that does this best).

Thematically, this is surprisingly simple stuff. The other things that are mixed into the plot (appreciation of great art, the sub-plot involving the maid) easily fade into the background when the focus returns to the central relationship between Marianne and Héloïse, and the love that blossoms between them. Which again puts most of the success of the film on the shoulders of the leads.

Beautifully shot and put together, perfectly cast, and fairly flawless throughout, Portrait Of A Lady On Fire deserves your time and attention. The only thing going against it is the fact that it feels a bit too much like a trip through well-trod territory for most of the runtime.

8/10