What happens if you take men out of the equation altogether? There’s minimal dialogue, which is bold considering the cast consists only of a handful of players. ‘People on Sunday’ is as fresh today as when it was first shown. It was made by some of the most talented figures in German cinema history, all at the very start of their careers and all about to be forced abroad by Hitler. Or see Héloïse as a friend, a companion, a human being not for viewing or sale?Luàna Bajrami (left) and Noémie Merlant in "Portrait of a Lady on Fire." The film has grim moments involving drug addiction and the Holocaust. In French with … It is also gorgeously shot in black and white, boasts a beguiling score by Peer Raben, and is full of unexpected moments of lyricism and tenderness. Real love may be fleeting, but as Adèle Haenel and Noémie Merlant carry the film with ease, projecting pages of unwritten script in the pauses between wordsIndependent Premium Comments can be posted by members of our membership scheme, Independent Premium. Who owns who, or does the notion of “ownership” fly out the castle window? You think that’s no longer true in the 21st century? Vivaldi’s “Four Seasons” is discussed and played on a harpsichord — the cloistered Héloïse has never heard a live orchestra — and that’s somehow fitting for a movie that feels composed rather than shot.As the two women grow close, attended by a country maid, Sophie (Luàna Bajrami), who becomes a co-conspirator and the subject of her own drama, we wait for the moment when Marianne’s “friendship” is revealed to be an act. Sciamma’s gorgeous romantic film concerns itself almost entirely with the unseen powers of the gaze.
They had spent their careers making veiled critiques of the Soviet Union and didn’t know what stories to tell next.
He died young, aged 37, in 1982, but racked up an astonishing number of films.
One is brown-eyed and dark, the other blond and blue-eyed; they could be each other’s negative. Claire Mathon’s camerawork is as exquisitely framed as Marianne herself might make it, each image following the next at the pace of a slowly quickening gavotte. Jean Renoir’s film was a direct influence on Robert Altman’s Gosford Park, scripted by Julian Fellowes, who would later create ‘Downton’. You can also choose to be emailed when someone replies to your comment.The existing Open Comments threads will continue to exist for those who do not subscribe to Independent Premium. It’s a caustic, uncomfortably intimate psychodrama about a couple on holiday in Naples whose marriage is falling apart. We watch Marianne build up the layers of her portrait and then start all over again, willing the spectral Héloïse she sees in her head onto the canvas.
None of this is news.But what if the person looking is a woman? They can hardly bear to look at each other.
On the evidence here, the French upper classes were just as corrupt and hypocritical as their British equivalents.
‘The Seventh Seal’ (1957) fixed the image of the gloomy, introspective Scandinavian playing chess with Death on the beach. To look is to possess; to gaze is to own; to take a photograph or paint a portrait is an act of laying claim. The three features were closely focused character studies. And then, she stops and turns around. The most insightful comments on all subjects will be published daily in dedicated articles. Our journalists will try to respond by joining the threads when they can to create a true meeting of independent Premium. Create a painting fit for a rich man’s gaze? ‘Breathless’, though, is an example of a European New Wave film that blew everybody away. ‘I wanted to depict a society dancing on a volcano,’ the director later observed of the film, made just before the start of the Second World WarDir: Roberto Rossellini The wonderfully supercilious George Sanders shows his familiar mellowness of sneer as the husband being very beastly to his wife (Ingrid Bergman) in Rossellini’s dark romantic drama. Wow’Dir: Krzysztof Kieslowski When the Iron Curtain came down, many eastern European filmmakers were left at a total loss. Please continue to respect all commenters and create constructive debates.Are you sure you want to mark this comment as inappropriate?Please be respectful when making a comment and adhere to our There are no Independent Premium comments yet - be the first to add your thoughtsPlease be respectful when making a comment and adhere to our There are no comments yet - be the first to add your thoughtsPortrait of a Lady on Fire review: Gorgeous and romantic period drama
If this silent film is the measure, they ate, drank, went to the park, mucked around and had sex in the woods.
Krzysztof Kieslowski was one Polish director who adjusted comfortably to changing times. Nonetheless, when it finally reached British cinemas in 2007, audiences were fascinated by debut director Florian Henckel von Donnersmarck’s depiction of an East German society in which everybody snooped on everybody else.
You could ignore the gossamer-thin crime thriller plot altogether and just concentrate on the formal boldness (all those jump cuts) and the interplay between the two stars. Gently but firmly, it insists that looking is petty theft unless looks are exchanged — and that just when you think you’ve snared a woman in a frame you find you’ve caught nothing at all.
Adèle Haenel (left) and Noémie Merlant in "Portrait of a Lady on Fire. By the time that happens, of course, it has deepened into something rawer and more complex, in no small part because Héloïse is taking the painter’s measure as surely as Marianne is sizing up her subject.
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