‘Portrait of a Lady on Fire’ is a powerful story about love, trust and womanhood. The film delivers a powerful tale of two women discovering new feelings and explores what it means to be a woman. The film uncovers the expectations and duties of women and how that can hinder the pursuit of private desires.
The film, set at the end of the 18th century, opens with the introduction of Marianne, a painter commissioned to paint the portrait of Héloïse for her future husband. Under the guise of a walking companion for Héloïse, Marianne must complete her work in secret, as Héloïse has refused to pose before. As the two spend time together they discover strong feelings for each other and develop a romance.
The introduction to Marianne shows us her headstrong nature. En route to Héloïse, as she travels by boat, she loses the grip on her crate, containing her canvases. The boat is filled with half a dozen men who sit idly by as Marianne swims to recover her possessions. Besides the fact that the film is set in the 18th century, the scene accentuates the hardship of being an independent woman. Héloïse is different. She has recently returned home from a convent to take her sisters place as the betrothed to a Milanese nobleman. Initially Héloïse is cold towards Marianne, exchanging few words and keeping their interactions brief. As time progresses the two become closer.
The film serves well as an exploration of independence from a female perspective. Marianne embodies the example of a free individual, as she owns her own business and does not need to marry due to financial considerations. However, her freedom is hard earned, as a short exchange between her and Héloïse reveals that female artists of that time were not allowed to paint male models, remarking it to be a barrier to truly excelling in her field. Héloïse has a contrasting fate set before her, - to be married and live as a kept woman. The film depicts the unwillingness and outright refusal of Héloïse to embracing such a future as she refuses to pose for the portrait for her betrothed. Héloïse’s sister allegedly committed suicide and it is implied that it was due to her not wanting such a life. Throughout the film, marriage is regarded as a restriction on ones personal freedom, to being tied down and existing solely as duty.
The visual style serves to accentuate the contrast between the two main characters, as Marianne dons a red dress and Héloïse wears a green dress for the portrait. On their walks however, Héloïse sports a simple blue dress she had whilst in the convent, noting the different purpose the outfits represent – one for keeping up appearances and the other as a more true representation of her sensibilities. The cinematography, helmed by Claire Mathon, beautifully complements the two contrasting sides to a life a woman can lead. Moreover, the film uses scenes set either at night or day, representing the contrast between the types of future that lie ahead for the main characters.
The use of painting Héloïse’s portrait serves as a guideline towards uncovering her innermost wants and needs. As Marianne first arrives, she comes by the previous artists attempt of the portrait with the face wiped out. Marianne's first finished portrait is criticised by Héloïse, angering Marianne to the point where she destroys her work. Upon completing her second portrait, the two appreciate that besides Marianne's technical abilities, her coming to know Héloïse better served as the inspiration to a more realised image of Héloïse.
The film deals with a lack of choice and the constraints that society has put in place for women. Marianne can and does follow in her fathers footsteps as an artist, yet the thought remains – had he not established a business beforehand, she would not be able to enjoy that sort of independence and would have had a hard time establishing her own business. Héloïse is put in her sisters stead for a suitor by her mother to ensure financial stability in the future. Héloïse had remarked enjoying her life at the convent, implying a sort of freedom there to read and enjoy music. Marriage here exists as a duty towards her mother and is presented as a lesser evil in comparison to economic ruin.
Together the two characters discover feelings for each other, and for a brief moment are allowed to escape their reality through spending time together, enjoying deep and sincere feelings for each other. When they inevitably must part ways, the film reconciles that fact with noting that it is better to have experienced such a love rather than not. Marianne tells Héloïse to remember their time together with joy rather than regret. The film successfully delivers the message without being too saccharine, allowing the viewer to appreciate that love, however brief, can be a source joy.
The performance delivered by Noémie Merlant (Marianne), is a perceptive portrayal of a strong minded individual with clear goals and means of achieving those goals. Beyond her tough exterior, Merlant successfully depicts a softer side as she reveals the characters deep emotions towards Héloïse and displays the emotional turmoil she faces as she is haunted by the though of losing true joy. Adèle Haenel (Héloïse) does well in depicting a smart woman angered by having to come to terms with a future she does not want. Haenel successfully transitions from the initially aggrieved Héloïse, to a more open and loving character. Valeria Golino plays the Countess, Héloïse’s mother, serving as the stark reminder of Héloïse’s responsibilities regarding marriage. Golino portrays the serious mother, conveying an authoritative feeling, serving as a contrast to Héloïse’s yearning for freedom. Golino delivers a nuanced performance through which the audience can feel the restrictions that are due to befall Héloïse and which serves to enhance the urgency and finality of Marianne and Héloïse’s affair.
The director, Céline Sciamma, known for covering the themes of gender fluidity and sexual identity in her previous work, successfully delivers a deep insight into the struggles of facing ones future and reconciling the turmoil that deep feelings towards someone can bring about, from the point of initially meeting to having to part ways. The film is beautifully composed and allows the audience to live though the range of emotions the two main characters go though without being too rushed and allowing us to fully consider both sides of the same love affair.
The film serves well to comment on the restrictions that women face in life regarding their career and personal life choices. However, the story is uplifting as it helps the audience discover that a true connection with someone can provide joy and that an opportunity towards that should never be wasted.
Score: 4/4
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