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Eavesdropping at the Movies: 217 – Portrait of a Lady on Fire

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A delicate, intelligent love story, Céline Sciamma’s Portrait of a Lady on Fire undulates with complex, interlocking themes and emotions. It’s a film about looking: who looks, who is looked at, how one should be seen, for whom the gaze is intended and what the rules are. Héloïse, a young aristocrat, refuses to have her portrait painted for the approval of a Milanese nobleman; an artist named Marianne is commissioned to do just that, but in secret, forcing her to steal glances at her subject and, outwardly, act merely as her companion. The women’s relationship quickly develops, and soon they are collaborating on the portrait to which Héloïse had hitherto objected.

Sciamma demonstrates an eye for beautiful, sensitive composition, and with cinematographer Claire Mathon creates some simply stunning imagery, evoking 18th and 19th century Romantic art; truly, this film understands what it means to paint with light. We consider the differences between the characters: one formerly resident in a convent, brought home to take over her sister’s role to be betrothed; the other a skilled worker, whose life experience Héloïse is keen to probe – and this is to say nothing of Sophie, the maid, who forms friendships with both Héloïse and Marianne, and the drama of whose life experience surely outweighs theirs combined. We discuss how the boundaries between the three – particularly Héloïse and the two workers – are broken down; without the rule-keeping figure of Héloïse’s mother present, the young women are able, to an extent, to reshape the world in which they live. But patriarchy overhangs the entire film, even with men physically absent throughout; the painting into which Marianne and Héloïse are investing their love is the very thing, intended for the Milanese suitor as it is, that will seal their fate to live separate lives.

Portrait of a Lady on Fire is an ambitious, confident, complex and beautiful film whose imagery soars on the cinema screen. See it.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 128 – Colette

Gender-bending in turn-of-the-century France, with the true story of Colette, probably the most famous female writer in French history and author, although they were published under her husband’s name, of the Claudine stories. With representational interests that give voice and presence to people and lifestyles one might not expect in a period film, and two very good central performances, one sensitive and complex, from Keira Knightley, and the other fabulously charming, Dominic West’s, there are things we like. But our overall response is disappointed, the positives dulled by a poor script, some badly developed characters, and direction that allows no metaphor to pass unvocalised.

Mike considers it a potentially smart film destroyed by a pointless fear of its audience not getting it; José sees it as the middle-of-the-road cinema it is, for better and worse. It’s worth a look in some respects, but we can’t claim it’s a good film.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 119 – Disobedience

Rachels Weisz and McAdams soar in this delicate, passionate, complex drama of social pressures and forbidden love. Set in the North London Jewish community, Disobedience tells the story of two women whose love for each other is reignited when one returns home following her father’s death.

Everything is rendered complex, nothing is simple. Weisz’s anger at having been cast out of the community, McAdams’ subjugation and repression into a way of life she doesn’t desire, and Nivola’s denial and ambition are all expressed deeply and combine in intelligent and subtle ways. José is spellbound by the depth of feeling from the very beginning; Mike feels the lack of context early on is disappointing, seeing the film’s clichés rather than its originalities. And we share a certain reservation as to the film’s visual qualities, Mike suggesting the Jewishness of the story is reflected in its understatement, but again there is complexity present in its aesthetic and we appreciate its coherence.

We also like the seriousness with which the film treats its setting, the lack of condescension with which it depicts Jewish ceremonies and customs, Mike in particular finding it exciting to see authentically represented all manner of occasions and nuances of English Judaism. And the synagogue’s choir sings beautifully.

Though we don’t agree on everything, we are deeply moved and find it an enriching film. It’s very much worth your time.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.