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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
The best LGBT movie ever. And that's on period luv.
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.
Undoubtedly worth a watch; who knew portraits were the Tinder of the 1700s.
Full review: https://www.tinakakadelis.com/beyond-the-cinerama-dome/2021/12/28/paint-me-like-one-of-your-french-girls-portrait-of-a-lady-on-fire-review Celine Sciamma’s fourth feature film, _Portrait of a Lady on Fire_, is a triumph. Few romance movies capture the totality of love, loss, and remembrance in the way Sciamma does in this film. The story is simple: Marianne (Noémie Merlant) has been hired to paint a portrait of Heloise (Adèle Haenel) to be sent to the Milanese nobleman she is to marry. He will not marry her until he sees what she looks like. Other artists have tried and failed to paint Heloise, but she has resisted because she doesn’t want to be married. Marianne pretends to be Heloise’s walking companion, all the while studying Heloise so she can paint her in secret. Eventually, though, Marianne’s secret is revealed and Heloise agrees to sit for her.
The adventures of the wandering musicians from Bremen such as Troubadour, Donkey, Dog, Cat and Rooster. In one of the towns Troubadour falls in love with a Princess and makes up a plan how to get the King's confidence.
Modesto, an honest and responsible professional, is a manager of a small bank branch in Costa del Sol. His daughter died in a forest fire which he had thought to be accidental. One day he wakes up in his bank, after being locked and dragged by unknown men, and finds out in a safety-deposit box that the fire was plotted. From that day on, he sets on a personal crusade for justice.
In this stylish Finnish drama, the secrets and desires of a family can no longer be suppressed. Mikko turns out to have a hereditary illness. Since then he has been worried. How long can he continue to run the family business that he and inherited from his father, just like his illness? And how does he tell his teenage daughter and adult son that they might have the wrong genes? The imaginative eight-year-old Lumi, adopted from China, also cannot get away from her roots.
Young teen girl Xiu Xiu is sent away to a remote corner of the Sichuan steppes for manual labor in 1975 (sending young people to there was a part of Cultural Revolution in China). A year later, she agrees to go to even more remote spot with a Tibetan saddle tramp Lao Jin to learn horse herding.
On Haeundae Beach, a guilt-ridden fisherman takes care of a woman whose father accidentally got killed. A scientist reunites with his ex-wife and a daughter who doesn't even remember his face. And a poor rescue worker falls in love with a rich city girl. When they all find out a gigantic tsunami will hit the beach, they realize they only have 10 minutes to escape.
A teacher on a Greek island becomes involved in bizarre mind-games with the island's magus (magician) and a beautiful young woman.
Nick, a gay, HIV-positive architect, begins to display severe symptoms of AIDS and makes preparations to kill himself before he is unable to function normally. He arranges a party to reconnect and say goodbye to his closest friends and his confused parents. But when his ex-partner, Brandon, a television director who left Nick when he was diagnosed with HIV, shows up, what was supposed to be a celebratory event becomes much more difficult for everyone.
On the road to vacation, Jimmy and Guillaume put their relationship back into play. Jimmy becomes a lost hitchhiker, Guillaume a lonely driver. They will play not to know each other anymore, play to meet and seduce each other again. Until a third player joins the game.
Mousie and Sad Girl are childhood best friends in a contemporary Los Angeles poor Hispanic neighborhood. But when Sad Girl becomes pregnant by Mousie's boyfriend, a drug dealer named Ernesto, the two become bitter enemies. While their dispute escalates towards violence, the violence of the world around them soon also impacts their lives.
A black and white, fantasy-like recreation of high-society gay men during the Harlem Renaissance, with archival footage and photographs intercut with a story. A wake is going on, with mourners gathered around a coffin. Downstairs is an elegant bar where tuxedoed men dance and talk. One of them has a dream in which he comes upon Beauty, who seems to reject him, although when he awakes, Beauty is sleeping beside him. His story and his visits to the jazz and dance club are framed by voices reading from the poetry and essays of Hughes and others. The text is rarely explicit, but the freedom of gay Black men in the 1920s in Harlem is suggested and celebrated visually.