I usually leave my core verdict of a film until the end of the review, although today I make the exception - Portrait of a Lady on Fire is a modern masterpiece.
In almost every aspect of its craft it excels in delivering the gripping, emotionally-charged, love story of Marianne (Noémie Merlant) and Héloïse (Adèle Haenel). Marianne, a talented painter, is tasked with the wedding portrait of Héloïse - an unwilling bride-to-be to an arranged marriage. While Héloïse is reluctant to be painted in a protest against her marriage, she begins to form a tender relationship with Marianne.
It’s difficult to formulate an opinion on which aspect of the film I enjoyed the most, although it’s most consistently effective trait is its cinematography. In a stunning display of camerawork, lighting and colour, Claire Mathon chooses not to take external inspiration from her external filmography; instead she chooses to look inward, utilising the film’s timeframe and it’s style as a muse. This choice frames nearly every shot as a beautiful painting from the era the film is set, while simultaneously pushing the core themes that envelope its narrative and its characters
In a film of this genre, I always feel that the script is one of the most crucial elements. With this in mind, upon a second watch I now realise that Portrait of a Lady on Fire might just have some of my favourite dialogue in a film altogether, let alone within the romance genre. It’s not only spectacular in expressing the emotional dynamics of the relationship between Marianne and Héloïse, but in its use of subtle exposition from the very start. The script’s sprinkling of humour in the first two acts work well in providing a unique human touch that strengthens your emotional investment in the characters involved. It’s also one that makes your heart warm for their relationship, and ache in the film’s more sorrowful sequences.
What ties the film together more than anything, however, are the performances given and the mesmerising work of the films director, Céline Sciamma. Merlant and Haenel give equally mesmerising performances that punctuate the script and drive the film’s emotional core. It’s fascinating to see how both of their characters blossom and open up as the relationship develops. Likewise, once the viewer is fully captivated, they mutually deliver some truly devastating acting during the final act. All of these elements and more are cohesively welded through Sciamma’s direction. Her focus on connecting the script with effective performances, alongside her attention to detail, is what truly elevates this film to instant classic status. In particular, the latter quality is remarkable in telling an impactful love story that effectively incorporates a range of heartwarming, heartbreaking and haunting moments.
Portrait of a Lady on Fire is an astonishing film that delivers an unparalleled unity between script, cinematography and performance. Sciamma’s direction captivates viewers in a tenderly-written narrative with a uniquely human touch. The viewing of this film is an experience that will be revered by audiences for years to come.