La Comtesse
Valeria Golino
La faiseuse d'anges
Christel Baras
L'élève atelier
Armande Boulanger
L'homme salon
Guy Delamarche
La batelier
Clément Bouyssou
Une paysanne (uncredited)
Michèle Clément
Une paysanne (uncredited)
Cécile Morel
Sound Editor
Valérie Deloof
Visual Effects Supervisor
Alain Carsoux
Screenplay
Céline Sciamma
Producer
Bénédicte Couvreur
Original Music Composer
Jean-Baptiste de Laubier
Costume Design
Dorothée Guiraud
Director of Photography
Claire Mathon
Production Design
Thomas Grézaud
Steadicam Operator
Mathieu Caudroy
Makeup Artist
Marthe Faucouit
I/O Manager
Romain Moussel
Production Manager
Claire Langmann
Foley Artist
Vincent Milner
Sound Re-Recording Mixer
Daniel Sobrino
Production Secretary
Laetitia Dom
Stunt Coordinator
Yves Girard
Co-Producer
Véronique Cayla
Key Makeup Artist
Marie Luiset
Sound Engineer
Julien Sicart
Electrician
Vincent Taberlet
Foley Recordist
Edouard Morin
Stunt Coordinator
Grégory Loffredo
Script Supervisor
Cécile Rodolakis
Original Music Composer
Arthur Simonini
First Assistant Camera
Alan Guichaoua
Electrician
Sébastien Combe
Digital Compositor
Christian Tomikowski
Dialogue Editor
Sarah Lelu
Sound Assistant
Clémence Peloso
Extras Casting
Marie Pierre Delabrière
Third Assistant Camera
Lisa Billuart-Monet
First Assistant Director
Delphine Daull
Makeup Artist
Aurélie Cerveau
Assistant Unit Manager
Romain Bonningue
Assistant Unit Manager
Julien Chapeaucou
Second Assistant Director
Anaïs Couette
Assistant Director Trainee
Luca Zentillin
Construction Coordinator
Lionel Brison
Construction Coordinator
Guillaume Diehl
Graphic Designer
Baptiste Magis
Assistant Art Director
Pierre-Yves 'Pipo' Perot
Digital Compositor
Olivier Tournayre
Electrician
Gaël Carrière
Electrician
François Gallou
Electrician
Mickael Georgeault
Best Boy Grip
Charles Lagorce
Best Boy Electrician
Thibault Lery
Second Assistant Camera
Ombeline Tamboise
Extras Casting Coordinator
Ange Amiel
Set Costumer
Agathe Meinnemare
Location Scout
Samuel Rodriguez-Mallet
SWITCH.
As the credits began to roll on ‘Portrait of a Lady on Fire’, I was practically incapable of moving or speaking. Every time I didn’t think the film could possibly get any better, Céline Sciamma elevated it to even greater, more incomprehensible heights, culminating in one of the most extraordinary moments in 21st-century cinema. This is a rare and precious film, breathtaking in its craft and intensely honest in its passions. This is a film that aches, that longs, that dances in ecstasy and raises its hands to the sky, angelic and ferocious and perfect. Simply put, ’Portrait of a Lady on Fire’ is a masterpiece, and one of the best films of this or any year.
- Daniel Lammin
Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-portrait-of-a-lady-on-fire-a-perfect-film-on-the-language-of-desire
Heloisa
The best LGBT movie ever. And that's on period luv.
Louisa Moore - Screen Zealots
Céline Sciamma, writer and director of “Portrait of a Lady on Fire,” calls her period film a “manifesto on the male gaze.” This is the most accurate, elegant description of her story of a romance between two French women in the late 1700s. This is an impeccably detailed, beautifully acted, refined drama with a strong feminist angle that’s as stirring as it is thought-provoking.
Marianne (Noémie Merlant) is commissioned to paint the wedding portrait of Héloïse (Adèle Haenel), a young woman who has just left the convent. Because Héloïse is a very reluctant bride-to-be, Marianne arrives under the guise of companionship, observing the smallest of details about the woman by day and secretly painting her by firelight at night. As the two women spend their days with one another, intimacy and attraction grow, and the portrait becomes a symbol of the intensity of their love.
The lead performances are mannered and structured in the most effective way. The strong desire between the two women is manifested in a gaze or careful examination of a wisp of hair or the way Héloïse crosses her hands. There’s a quiet intensity to the emotional and physical intimacy between these two women, making this love story’s end feel all the more heartbreaking.
This is mostly an all-female film, and the men briefly seen on screen play little importance. Rounding out the characters are Héloïse’s mother (Valeria Golino) and housekeeper Sophie (Luàna Bajrami), who both fill critical roles in the story as the film explores issues affecting women at the time, including arranged marriages, career expectations, and health concerns.
The film itself is absolutely stunning, with gorgeously romantic and lush cinematography by Claire Mathon setting a sensual tone that complements the story. The artistry is outstanding, making “Portrait of a Lady on Fire” one of the most powerful, intellectual dramas of the year.
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