French Cinema: Portrait de la jeune fille en feu (Portrait of a Lady on Fire) film review

Portrait de la jeune fille en feu is a historical drama directed by Céline Sciamma.

The film tells the story of a forbidden love affair between an aristocrat and a painter; being both women in 18th-century France, the romance between Marianne (Noémie Merlant) and Héloïse (Adèle Haenel) is deemed by society just as much a social taboo as it is a sexual one.

The film competed at Cannes for the Palme d'Or but instead won the Queer Palm, a significant achievement as Céline Sciamma is the first woman to win the prize.

I love how female-orientated this film is: Céline Sciamma, the director is a lesbian woman, the cast is literally just women (except a few male extras here and there), the cinematographer, yes, you guessed it is a woman, Claire Mathon, to be precise and I am fast becoming a fan of her work. And this shows big time in how the film feels. There is no male gaze, and there are difficult issues such as abortion present.

Moreover, through Marianne, a female artist, the art world and its restrictions on women are challenged; traditionally, the woman is the muse but here, she can play both roles, the painter and the muse.

And at the very crux of the story is the beautiful, passionate and poetic love that Marianne and Héloïse have for each other. It’s safe to say that the ending of the film broke my heart, I sobbed and ugly cried long after the credits rolled. Even thinking about page number 28 or the myth of Orpheus and Eurydice chokes me up, and ‘Summer’ from Vivaldi's Four Seasons will never be the same.

«Vous pensez que tous les amants ont le sentiment d'inventer quelque chose?»

‘Do all lovers feel they’re inventing something?’

This film is exquisitely shot, the cinematography feels like a painting and the stolen looks and glances between Marianne and Héloïse are shown in beautifully framed close-ups. Portrait de la jeune fille en feu feels like a love letter to love, to Queer love and to the poetry of the soulmate.

The symbolism in Orpheus and Eurydice is heartbreaking, and when Héloïse calls for Marianne to turn around and look at her one last time, you can’t help but feel a dagger in your heart. It’s almost criminal that this film did not get nominated for Best International Feature Film at the Oscars, as it quite clearly could have won.

Portrait de la jeune fille en feu is a masterpiece of cinema. And like Call Me By Your Name, Moonlight, and a plethora of other exquisitely shot LGBTQ+ films, Portrait de la jeune fille en feu proves that love outside of heteronormativity is beautiful and worthy of a place in cinema and should be celebrated all year round and not just in Pride Month.

French Cinema: Un prophète (A Prophet) film review

Un Prophète directed by Jacques Audiard is an award-winning French crime drama. It won the Grand Prix at Cannes, several César Awards, a Best Foreign Language Film BAFTA, Best Film at the BFI London Film Festival and was nominated for Best Foreign Language Film at the 82nd Academy Awards. Quite the collection of accolades and there is most definietly a reason for that.

Tahar Rahim is exceptional as Malik El Djebena, an incarcerated small-time criminal who ascends up the prison hierarchy. Rahim commands the screen completely even though this was one of his first film roles, and we, the audience, follow his startling metamorphosis step by step.

One of the most visceral scenes comes early in the film, where Malik is tasked with the assassination of Reyeb, a fellow Muslim prison mate, by the all-powerful Corsican mob boss César Luciani (Niels Arestrup). It is a startling scene that is hard to watch but brilliantly depicts Malik’s desperation to survive. As a result of his violent and botched murder, he is thus haunted by the spectre of Reyeb throughout the rest of the film.

Impressively, Un prophète is not exactly an original tale, but its execution and exploration of race make it a compelling entry into the prison drama genre. Due to Malik El Djebena’s French-Algerian heritage, he is able to navigate the diverse cultures of the prison; he straddles the gap between the Corsican mobsters and the Muslims and cultivates his position within both groups to further his position in the prison’s hierarchy.

He also finds time to learn how to read and write through the prison school, arming himself for life outside when his six-year sentence is finally over. His journey is a complex and compelling one, and you feel yourself rooting for him throughout.

A familiar story made brilliant through execution and a star performance by Tahar Rahim, who is easily one of France’s most compelling actors working at the moment.

French Cinema - Un homme idéal (A Perfect Man)

A thrilling almost Faustian tale of success, deceit and murder.

Mathieu Vasseur (Pierre Niney) has always wanted to become a famous writer, the only issue is that he can’t seem to get his work published, there is something he lacks. Talent. So when he happens across the journal of a recently deceased veteran while clearing out a house at his removal company job, he hazards his bets and steals the work.

What follows is a film that doesn’t stop pilling on the twists, and as Mathieu struggles to keep up with the facade he has built for himself his world comes crumbling down around him. It’s the age old saying: be careful what you wish for. A beautiful girlfriend and a lavish lifestyle come at a rather hefty price for Mathieu and throughout the film he tries desperately to hold onto those things, no matter what it takes. Even murder.

Un homme idéal, is a study in the fragility of the masculine identity. Mathieu has built himself up to be a seemingly perfect man (as the title of the film suggests), he is: handsome, intelligent and successful. But, he fears that his Girlfriend will leave him if she finds out he is a fraud. Everything he has done to establish himself has been in the pursuit of this one woman, and this insecurity that stems from the idea that he isn’t enough for her if he peels away all the fakery is what triggers his downfall. It’s brilliant psychological and sociological story telling that questions the unfair expectations put on men to be a certain archetype.

French Cinema - L'écume des jours (Mood Indigo) Review

I decided to watch L’Écume des Jours (Mood Indigo) for three reasons: it’s French (I’m trying to learn this beautiful language with the help of cinema), it stars Audrey Tautou (from Amelie, which is one of my all-time favourite films ever) and the film is directed and written by Michel Gondry (Eternal Sunshine of the Spotless Mind).

My goodness, what a bizarrely surreal and poetical film. In Mood Indigo everything is extremely unusual, the visuals are mind blowing and the characters are so absurd it’s brilliant. The story takes place in a world so unlike ours, where everything seems to be alive and the people a larger than life itself. For the duration of the film, we follow the relationship of Colin (Romain Duris) and Chloé (Audrey Tautou) from its awkward inception at a friends party to the bittersweet end. It’s so strange (but reassuring) how a storyline so simple and generic as love could be made into such a groundbreaking and stunning piece of cinema, and it just goes to  show it’s not what you do but how you do it that sets things apart (another unusual love story that comes to mind is the inventive 500 Days of Summer).

Early on in the film, Colin is jealous of his two closest friends Nicolas (played supremely by Omar Sy) and Chick having found love, he boldly stands up and proclaims “I demand to fall in love, too!” I found this small moment quite interesting as we as humans seem to feel as if it’s our absolute right to find love when in reality to find true love is pure luck, coincidence and a matter of being in the right place at the right time. This is expressed quite well when Colin meets Chloé, Colin had to be invited by Nicolas who just so happened to be romantically involved with the Hostess Isis. All these coincidences and chances lead to the beautiful romance the two main characters shared. Perhaps the secret is to demand it after all as surely then we would actively seek love?

Overall this film is stunning and so quirky that I don’t want to give too much of it away in this review (everything you need to know is in the Trailer). So if you love French Cinema starring likeable leads in a story that is utterly surreal then have a watch, if not well you’re missing out on one of the most interesting films of the 21st Century.