How Portrait Of A Lady On Fire Avoided One Of The Biggest Pitfalls Of Making A Period Piece

This year, Celine Sciamma’s highly acclaimed “Portrait of a Lady on Fire” will turn four years old.

Recently, the film has been inducted into BFI’s Sight and Sound’s Greatest Movies of All Time at number 30, one of four additions from this past decade to make the list.

In a robust and impressive body of work, it stands as the French auteur director’s masterpiece, one that shatters the filmic power of the male gaze with a unique irreverence.

It’s a true feminist epic and focuses on Marianne (Noémie Merlant), an artist commissioned to paint a daughter of Gentry, Héloïse (Adèle Haenel), who is arranged to be married off to a nobleman in a few short weeks.

What follows is a tragic tale of hidden displays of yearning, feminine desire.The movie feels grandiose in nature, but according to the Daily Beast’s feature on the film from 2019, Sciamma shot all

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