Portrait Of A Lady On Fire (2019) Dir: Céline Sciamma
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I have been very nervous, yet determined, to watch Céline Sciamma's 2019 period romance. Nervous because it has been consistently listed among the best films of the century, determined because I know I must watch this film and see just how good it is. I felt within my bones that this would be good from the moment it began.
The film's visuals served as a delicate and stunning backdrop for the film, with countless satisfying shots throughout its two hour runtime. I literally said aloud; "look at that framing", and "wow, the cinematography", while watching - it was that good.
The focus on the eyes was masterful; the subtle way in which both the framing and actors drew attention to them was entrancing. So much of the storytelling was done with these alone, and it was so potent, and so powerful.
Even the costume design was immaculate, particularly in how it emphasised colour. I found it all so evocative, in regards to imagery. Furthermore, the soundtrack, though used sparingly, was very effective, as was sound in the film as a whole. It ebbed and flowed beautifully, and was quietly a vital component for the emotional storytelling of the film.
The narrative was sublime. It was a story raught with longing, love, and utmost need; one entwined in the desperate and tantalising mythology of Orpheus and Eurydice. It was forged through some magnificent imagery, and some tremendously composed dialogue. I was undeniably and unashamedly a mess by the time the credits rolled.
Noémie Merlant provided the audience with a remarkably nuanced protagonist, who guided the story marvellously. She grew, and grew, and grew, and grew. As the layers of her character unfolded, she showed more and more excellent acting. It was such a compelling performance.
Adèle Haenel was also undeniably magnificent. Her face was, rather appropriately, a portrait of emotion. The poise and elegance she possessed was second only to the nuance with which she expressed her character's vulnerability. I adored her acting, especially in the second half of the film, where she blew me away.
Luàna Bajrami and Valeria Golino, though in far smaller roles, showed real talent in their performances. Each one lifted their respective scenes a little, particularly Bajrami, who had a couple of excellent scenes in the second half of the film.
Overall, this really is one of the greatest romantic dramas in cinema history. To call it powerful, to call it emotive, seems not to do it justice. It is, perhaps ironically, undoubtedly by design, a fiery and emboldened look at how women loved each other in a time where one's truest emotions were kept under the darkest of veils.
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