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I was completely blown away by this. Every period drama I've seen feels like dumb bullshit now. Go see this in a theater.
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Feb 16, 2020 08:04
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Going to second this. I don't think I've been as emotionally devastated by a movie since I watched In the Mood for Love. I definitely want to check out the rest of Celine Sciamma's work after this.
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Feb 17, 2020 01:00
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I saw it in an early preview without knowing what to expect and the movie just creeps up on you. At first I wasn't sure what it was doing, it seemed almost generic, and then everything just starts slowly falling into place and by the end I was devastated. Saw it again recently knowing where it goes and the entire thing is perfect start to finish.
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Feb 17, 2020 16:47
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Yeah, if anybody's thinking about not seeing this because it's a period drama, know that it's a lot more intimate and emotionally honest than any of them. This might literally be the best romance ever, and it's as close to a perfect movie as you can reasonably get.
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Feb 17, 2020 16:54
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Shoutout to the bonfire scene, one of those serene and surrealistic sequences of any film of last year if only for how Sciamma uses it to completely transition the film into a mythic dream place. It's the moment we go from the ordinary world to the place of Orpheus and Eurydice and it's absolutely stunning.
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Feb 17, 2020 16:57
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Portrait of a Lady on Fire falls into my exact favourite romantic genre where the last 10 minutes are a devastating timeskip that makes me want to die. The slow-burn investment into their relationship is so worth it. There were several times where I think I just straight up stopped breathing.
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Feb 17, 2020 18:15
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Just saw it tonight, here are my new rankings for Best Picture of 2019: Random thoughts: - Neon is the new A/24! - Latin singing translation everyone is chanting "I can't escape" according to friend who saw it with me - The last 3 minutes is one of the most devastating acting showcases I've ever seen - The women achieve some heartwarming egalitarian utopia while they're left alone for two weeks. The women, including the maid, mostly forget about their class distinctions and hang out, have meals, enjoy art and play games together as equals. The daughter of a countess even digs up plants to help the maid do the thing with the thing. It's as if being women unites them in solidarity more than class because they have stronger feelings about the patriarchy hanging over them than anything else - Almost every shot of a person is conspicuously staring at them as if studying them to paint a portrait. It feels as if it is suggesting that everybody is worth staring at and studying. Steve Yun fucked around with this message at 10:19 on Feb 18, 2020 |
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Feb 18, 2020 09:41
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Did Marianne set Heloise on fire by horny-staring at her too hard?
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Feb 18, 2020 11:26
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I don't feel we need to dunk on period dramas after The Nightingale and Little Women which are also really loving good movies to uplift this movie, even if only one of those necessarily reaches the heights of Portrait. But yes, this movie is beautiful. I strangely didn't leave absolutely devastated and have been really challenging those feelings. Heloise's marriage is depicted as being analogous to the Underworld and the symbolism of the portrait being boxed up is devastating. But the film still manages to find joy in itself which I think is what defines it. There is a fun and authentic sexiness to the film that really blindsided me. I was expecting something well shot, but cold and sad. And even in the end, despite how haunting that lost moment is, there is something hopeful about it. I think the thing that I'm wrestling with is that as a retelling of Orpheus and Eurydice, the film is clear that there is something inherently different between how we usually view that story, and how Heloise and Marianne's story unfolds. But I can't necessarily put together what the difference is. I also like how the film handles nudity. It's used very sparingly to define intimacy in a way that feels sexier and warmer than a lot of these types of stories.
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Feb 18, 2020 16:27
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Timeless Appeal posted:I think the thing that I'm wrestling with is that as a retelling of Orpheus and Eurydice, the film is clear that there is something inherently different between how we usually view that story, and how Heloise and Marianne's story unfolds. But I can't necessarily put together what the difference is. Heloise and Marianne have no such potential happy ending because of The Patriarchy. Either Heloise is given away in marriage or Heloise lives in a perpetual state of refusing suitors in which case Marianne has no reason to be there. If Heloise accepts being given away to the Milanese Man, she has an excuse for Marianne to be around and they can enjoy true love for five days. So it’s as if Orpheus knew he had no potential happy ending to look forward to, and as if Eurydice also knew it and called out “turn around” so that they could stare at each other one last time knowing that she’d be taken away. In the original myth, it’s a moment of weakness. In this film, it’s a deliberate act. Steve Yun fucked around with this message at 20:13 on Feb 18, 2020 |
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Feb 18, 2020 19:44
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Steve Yun posted:Just saw it tonight, here are my new rankings for Best Picture of 2019: Just curious if you've seen Little Women yet
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Feb 18, 2020 22:21
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I haven’t seen any Little Women. Is the 2019 the best one? Should I see that one?
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Feb 18, 2020 22:25
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Steve Yun posted:I haven’t seen any Little Women. Is the 2019 the best one? Should I see that one? It was my second favorite movie of the year after Parasite. It's fantastic. Though I imagine that ranking will change after I see Portrait.
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Feb 18, 2020 22:44
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Ok I’ll watch it What a great year for movies, we got at least two masterpieces and most of the best picture nominees were very solid
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Feb 18, 2020 22:55
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Us straights can’t write love stories like the gays because nobody understands the pain of forbidden love better than the gays. Hopefully one day they will be treated with equality and then they can write boring love stories with happy endings like the straights do
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Feb 19, 2020 00:09
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I guess this will be in contention for next year's Oscars rather than the 2019 ones, since it came out in France in 2019 and here in 2020. But man, this is a way better movie than Parasite. Blah blah blah I love this poo poo, go see it
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Feb 19, 2020 03:32
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I would love nothing more than POALOF to get Best Picture 2020, but I was under the impression that they did a NY and LA qualifying theater run for 2019
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Feb 19, 2020 04:14
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KOTEX GOD OF BLOOD posted:I guess this will be in contention for next year's Oscars rather than the 2019 ones, since it came out in France in 2019 and here in 2020. But man, this is a way better movie than Parasite. The key question is, did it run in LA County last year? I think for the foreign film award it also needs to run in New York. Ogmius815 fucked around with this message at 04:33 on Feb 19, 2020 |
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Feb 19, 2020 04:28
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So yea that might be one of the best movies I’ve ever seen
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Feb 19, 2020 08:14
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 Me, two day later, still thinking about the ending
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Feb 19, 2020 10:17
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KOTEX GOD OF BLOOD posted:I guess this will be in contention for next year's Oscars rather than the 2019 ones, since it came out in France in 2019 and here in 2020. But man, this is a way better movie than Parasite. Sadly no, France chose Les Miserables to represent in the Best Foreign Language Film category instead.
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Feb 19, 2020 16:19
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So after the movie I spent several hours just hunting down and absorbing any analysis I could find. Here’s a good one I found on YouTube https://youtu.be/DMUC584ppNQ
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Feb 19, 2020 17:23
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POALOF was eligible for the 2019 Oscars despite not receiving France's submission, so it's out of awards contention altogether despite getting a formal 2020 U.S. release.
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Feb 19, 2020 21:29
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Thinking that Neon should have just held off on releasing it at all until 2020.
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Feb 19, 2020 21:41
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Probably but at the same time I guarantee that Parasite winning Best Pic means a foreign film isn’t going to win again for a long time
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Feb 19, 2020 21:43
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Seriously though, did Marianne metaphorically set Heloise on fire with her gaze Being on fire seems conspicuously laden with significance The two are staring hard at each other when it happens I like the idea that the gaze is powerful enough to affect its subject
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Feb 20, 2020 00:49
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Yes in a sense. I think the fire more represents the fear that her love will destroy Heloise. From the very first scene between the two of them, the weight of suicide hangs heavy.
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Feb 20, 2020 05:50
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Steve Yun posted:Seriously though, did Marianne metaphorically set Heloise on fire with her gaze
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Feb 20, 2020 06:19
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Timeless Appeal posted:Yes in a sense. I think the fire more represents the fear that her love will destroy Heloise. From the very first scene between the two of them, the weight of suicide hangs heavy. And in a larger sense, I think it also represents impermanence in general. [spoiler]Marianne knows this can't last, and that their love will only live on in memory.[/quote]
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Feb 20, 2020 14:42
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What significance is there to the swimming
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Feb 21, 2020 06:49
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Timeless Appeal posted:Yes in a sense. I think the fire more represents the fear that her love will destroy Heloise. From the very first scene between the two of them, the weight of suicide hangs heavy. only reading this thread to get an sense of the film but it sounds like you should consider "I say therefore to the unmarried and widows, It is good for them if they abide even as I. But if they cannot contain, let them marry: for it is better to marry than to burn."
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Feb 21, 2020 23:17
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I like that fire represents both
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Feb 21, 2020 23:35
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"Marianne" is the name given to the personification of the revolutionary French Republic. She represents the ideals of liberty, equality, fraternity and reason. She's often depicted as a bare-breasted woman leading men into battle https://en.wikipedia.org/wiki/Marianne  The movie is set 29 years before the French Revolution Anyone with a French background able to tell if there's anything here worth noting Steve Yun fucked around with this message at 20:43 on Feb 22, 2020 |
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Feb 22, 2020 20:40
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I saw the movie tonight and was completely blown away. It’s one of the best that I’ve seen in a long time. Every setup paid off, Checkhov would have been proud. The last scene is heartbreaking, hopeful, and an incredible piece of acting. I’m still haunted by the scene with the infant, it’s such an incredibly moving shot. I’m not a frequent enough poster to be good at spoilers, so I won’t go more into things, but I think that I’ve left things vague enough. I’ve been on the a24 train for a bit these days, especially after Midsommar, but I think that Neon’s my new favorite production house for great arty cinema. I’m just glad that my town’s got a proper theatre for these kinds of movies. 10/10, would watch again in a heartbeat. Go see it if it’s showing in your town.
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Feb 24, 2020 03:25
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I liked this movie but I wasn’t as blown away as some of you. I think I would have cut 15-20 minutes from the first hour. I’d like to see this one again when I’m not as sleep deprived as I was on Saturday.
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Feb 24, 2020 04:36
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Ok I think I found a satisfactory answer about the meaning of swimming. Much like taking a risk on Marianne, it is a risky act that she takes on for her own enjoyment. She doesn’t know for sure if she can even swim, much like she doesn’t know for sure that Marianne will feel the same about her if she expresses an interest. edit: Also, much like how the decision on whether or not the portrait was going to happen was an act of agency/autonomy on Heloise's part, Heloise asks Marianne to stay back as she goes swimming so it can be an act she does on her own Steve Yun fucked around with this message at 06:44 on Feb 24, 2020 |
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Feb 24, 2020 04:41
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Ogmius815 posted:I liked this movie but I wasn’t as blown away as some of you. I think I would have cut 15-20 minutes from the first hour. I’d like to see this one again when I’m not as sleep deprived as I was on Saturday. Yeah, it was fine - I wasn't blown away like I was with Little Women. The final scene in the art gallery was really drat good though.
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Feb 24, 2020 15:26
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So I've been fixated on Marianne setting Heloise on fire with her gaze, I totally forgot that she does this earlier in the movie by staring at the unfinished portrait so hard that she accidentally sets the portrait's heart on fire In a way it's a battle between artist and subject, claiming authorship over their creative relationship. Marianne's interpretation of the Orpheus myth is that Orpheus deliberately gazed at Eurydice and is therefore the one with agency, Heloise suggests that Eurydice is the one who told Orpheus to turn around and is therefore the one with agency. Is the artist the one in charge? Can it be the subject? The first portrait happens without Heloise's consent. The second, more successful portrait happens because Heloise says she will participate. Steve Yun fucked around with this message at 01:28 on Feb 25, 2020 |
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Feb 25, 2020 01:15
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Ogmius815 posted:I liked this movie but I wasn’t as blown away as some of you. I think I would have cut 15-20 minutes from the first hour. I’d like to see this one again when I’m not as sleep deprived as I was on Saturday. I think it's a movie that gets better on rewatch. There's a lot of nuance and subtlety to the movie and you unpack more layers each time.
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Feb 25, 2020 02:01
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Any French speakers in here wanna verify: does Heloise talk to Marianne using formal language for most of the film and switches to informal at the end? If so at which point does this happen
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Feb 25, 2020 14:12
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