Céline Sciamma’s Portrait of a Lady on Fire is a cinematic masterpiece that redefines the artist/muse dynamic and challenges traditional notions of the female gaze.
Set in 18th century Brittany, the film tells the story of Héloïse (Adèle Haenel), an aristocrat who resists an arranged marriage. Marianne (Noémie Merlant) is hired to paint her portrait under the guise of a walking companion, leading to a profound and passionate relationship between the two women.
The film’s visual style is heavily influenced by Stanley Kubrick’s Barry Lyndon, with its meticulous use of natural lighting—candles, fire, and sunlight—creating painterly compositions that enhance its historical authenticity. Sciamma’s choice to focus exclusively on women and their experiences offers a refreshing departure from the male-centric narratives of period dramas.
Sciamma’s exploration of the male gaze, as exemplified by the myth of Orpheus and Eurydice, critiques the traditional roles assigned to women in art and storytelling.
The film rejects the passive muse trope and presents a dynamic where both the artist and the subject are co-creators. This co-authorship extends to the film’s depiction of love, emphasizing equality and consent rather than power imbalances. The absence of a musical score amplifies the film’s emotional resonance, with every sound—breaths, footsteps, and fire crackles—contributing to the immersive experience.
The poignant final scene, where Héloïse, years later, watches a performance of Vivaldi’s The Four Seasons, reflects on the lasting impact of their shared moments.
In its subtlety and depth, Portrait of a Lady on Fire not only celebrates the female gaze but also reaffirms the power of art to reflect and shape our understanding of ourselves and each other.
