Portrait de la jeune fille en feu Online 720px Mojo mkv no registration
Score 10632 Votes
runtime 121 Minutes
Description On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman
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- I've dreamt of that for years.
And so begins our introduction to the titular character and her nascent growth into being- a growth beyond the canvas, beyond the parameters of physical isolation, beyond the inescapable predicament of social and family burden. It is a taste of freedom. The beginnings of a liberating journey to find an existential peace from the inner turmoil that, as we learn early on in the film, likely took her own sister's life.
- Céline Sciamma, Writer/Director
Céline Sciamma's Portrait de La Jeune Fille en Feu is a remarkable film. It is Call Me By Your Name in its judgement-free paradise, palpable sexual tension, and look-into-the-flame Élio catharsis. It is The Favourite in its female-centric, lesbian-tensioned period drama with Vivaldi as a centerpiece (but with a mood far more romanced than Yorgos' unique lavish satirical darkness. It is Persona in its framing of duality and Abbas Kiarostami in its lunar pacing. It is unapologetically feminist: a love story between two souls who happen to be women on an island free of men, including but not limited to an abortion, the subsequent painting of said abortion, and the gentle caressing of armpit hair at center screen.
While not entirely its own, the film is nonetheless brilliant in almost every regard. Cinematography, including framing, color palette, and the dream-like landscape, is stunning. There is a visual language of unspoken glances and facial beauty through close-ups and lighting that parallels the script and brings out the mystique of the enigmatic Héloïse. The story is unveiled so poetically, as if watching the long-restrained passion of the female artist slowly burst from the seams of her oppressive corset of objectification.
' The "muse" is this fetishized silent woman who is inspiring just because she is beautiful. One of the manifestos of the film is to get rid of this idea of the muse-which is a nice word that actually hides the participation of women in artistry."
The nine muses of the Greek Mythology were deities that gave artists, philosophers and individuals the necessary inspiration for creation. One of the nine muses, Calliope, had a son named Orpheus. Sciamma's thought-provoking commentary on women and art is gently told but powerfully received, and it does not go unnoticed.
This film, like a majestic portrait, will remain echoing in your mind like the haunting hymnal Latin chant, Fugere non possum" I cannot run away.
Why does she have #28 on her hand? It makes me so soft 🥺. Portrait de la jeune fille en feu. I love this movie. Céline Sciamma tu es brillante ! J'ai aimé chacun de tes films comme chacune de tes démarches artistiques à travers eux. Ton cinéma a vraiment marqué ma jeunesse et continue d'inspirer ma vie de jeune femme. C'est un cinéma sensible, intelligent, émotionnel, élaboré, profond, un cinéma du beau qui dit aussi bien d'autres choses mais les sublime en toute simplicité.
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YouTube. Portrait de la jeune fille en feu montreal. This year's Screenplay award & Queer Palm award in Cannes. D. Portrait de la jeune fille en feu soundtrack. Portrait de la jeune fille en feu film. Portrait de la jeune fille en feu vivaldi. Portrait de la jeune fille en feu critique. (Portrait of a Lady on Fire) Céline Sciamma, France, 2019 I found it hard to follow the subtitles for this one, so I missed a lot of the dialogue and the subtext. Massive shame – I might have to try and catch it with English subtitles, because there was a lot going on. So my appreciation of it was more visual than cerebral, but luckily its a beautiful film. Sensual and smooth and creamy, like an 18th century oil painting. But also quiet, stripped down and pensive. Every shot is framed like a painting. We have four women: an artist commissioned to secretly paint a young woman by the womans mother, and the maid who works in the isolated house. The (very bare) house is on a (sparsely populated) island; the nearby clifftop, beach and sea are wild and untamed. It feels like a transitional, liminal place – representative of the artists freedom (she is financially independent. the young womans time between convent life and marriage, and the maids early, then terminated, pregnancy. The setting is constant but they are all much changed. At the centre of it all is the female gaze, and its the womens faces that I cant get out of my head. A different conception of female beauty is presented. The three lead actors have faces like oil paintings – characterful and unblemished, and most importantly unadorned. No make-up. No jewellery even. Yet endlessly fascinating and, so, naturally beautiful. The filmmaker frames them close and lights them by firelight, candlelight or daylight, with the effect of a gentle caress. The final shot of a womans face crumpling into emotion, prompted by the beauty of music but encapsulating the sadness of loss, capped it all off perfectly. Valeria Golino has a smaller part, and her misplaced face (with make-up. really stood out; shes great, and older of course, but I thought her face just didnt fit the period or the mood. Reading the reviews afterwards, one compared and contrasted it with Hitchcocks Vertigo, a film about the male gaze and one that includes a portrait artist. I also thought of Mike Leighs Mr Turner – the film often lingered on the technique of painting with oils and drawing with charcoal. How an image is built up slowly with a series of careful, well-placed strokes. It certainly would make an excellent double (triple. bill.
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