PortraitOfALadyOnFire is in theaters this weekend. Read Variety's review of the French film
The title of Céline Sciamma’s “Portrait of a Lady on Fire” implies that her subversively seductive film will focus on the subject of its titular painting — an 18th-century woman who refuses to pose, in defiance of the arranged marriage into which she’s being forced — when it’s just as much a portrait of the artist responsible.
This setup renders Héloïse mysterious at first, but in no time, the two women have achieved an equal footing of sorts. Héloïse is a lady, whereas Marianna has no title, but Sciamma brings a sense of modernity to their friendship. Without realizing the reason Marianna seems to be looking at her so closely, Héloïse responds to the force of her regard. And so begins a magnetic attraction whose deliciously long wick smolders seemingly forever before it finally turns physical.
For instance, after Marianna confesses the true purpose of her visit to her subject, Héloïse examines the painting and questions the likeness. “There are rules, conventions, ideas,” Marianna explains, referring to the tradition of French portraiture — although she may just as well be describing the patriarchy into which they’ve both been born.
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