Classical Romance and Feminism in Portrait of a Lady on Fire

It’s quite a fascinating thing to watch Celine Sciamma’s Portrait of a Lady on Fire in our current day pandemic and masks environment. There are some accidentally eerie scenes on a beach early in the film (as opposed to the deliberately eerie scenes later in the film where ghostly visages of a bride appear in dark hallways) where our main characters, a female painter and her female subject, wear masks to protect their faces from the wind and stay for the most part six feet apart or more. Here the social distancing is a function of repression and social mores, the masks another costume accessory.

The costumes, setting, and social mores on display in this very French film are beguiling. Sciamma uses them, along with how she places and moves her characters in frame, to build tension. The film is deliberately quiet with no music score, so that the tension builds its own rhythm, and so that when music does appear au naturelle (like women breaking into a chorus chant on a beach at night, or during that bravura closing scene where the camera fixates on a woman’s reaction to a particular piece of music performed by an orchestra) it’s like a jolt of emotion. Others films have made this bold choice before, but Sciamma employs it in a most novel way. Likewise, nods to, and techniques used in, everything from other feminist yarns like Jane Campion’s The Piano (the opening at sea), to Scorsese classics (that “hands reaching for each other” scene transition from the campfire to the cliffside is immaculate), to Jonathan Glazer’s Birth (that closing shot!) are combined in some strange and beautiful alchemy as if they are being used for the first time. The characters echo this as their affair begins, musing about how every lover must think they’ve created something new.

But there’s nothing truly revolutionary here. It’s all very classical and romantic. It just moves the viewer in a novel way through the sheer force of Sciamma and her actresses’ wills. The performances are fantastic. The side-stories (like the maid’s unwanted pregnancy) are presented with a humanist bent. Once the tension breaks in the later third of the film, some of the novel magic disappears, but the closing coda is one for the ages, echoing literary allusions from earlier in the film, showcasing the women’s resolve even after parting, forging their own ways in their own way and culminating in that scene at the orchestra that is among the best closing scenes of any film in recent memory, maybe second only to Nina Hoss singing “Speak Low” in Christian Petzold’s Phoenix.

Written by D. H. Schleicher

Portrait of a Lady on Fire is currently streaming on Hulu.