電影《燃燒女子的畫像》影評：A memory of lovers

The discussion about Orpheus and Eurydice makes up the core of this movie: memory of lovers.

Who created the memories?

For first time watching, it seems that painter is trying to explore and walk into Heloise’s heart, from the outside image to inside heart, of course. To paint her portrait is such a symbolic move that 「painting」 itself contains a recognition period of an individual’s understanding of another individual. Painter is the one to observe, to watch, and proactively, to create this memory. However, as another important topic of this movie, Heloise told us that, when she was being watched, this process is in fact two-way, the process of creation the image of the other one, is developed from both sides at the same time. And this two-way memory creation process here, is the creation of love. This movie reveals an important motif of 「watch」 and 「to be watched」, about 「subject」 and 「object」 of stare. Thankfully, for a very first time we see this equal perspective in a 18th century lesbian love. Equality is sth Heloise mentioned about what she loved about life in cloister. The root of her love is in the root of her life.

How to narrate the memories?

At first I thought the choice of poet and choice of lover represent two different attitudes from painter and Heloise. Painter is free, experienced and light. She has no burden, and naturally we can see that, when they say together discuss about the story, painter put herself in the position of Orpheus, to find the motivation and ground for him. While Heloise on contrary represents the voice of silent female, even though she knew creating a sound would end everything, she chose to end this memory. This is not only a poetic move chose by Eurydice, but also about the topic equality again. And that is why Heloise could think of this way to understand the story. Celine kept talking about how political this movie is in all interviews, and yes, a love that worths telling is always about highly autonomous individuals, seeing the world through another person’s eyes. Heloise and painter, they are not referring to the choices, they are the choices themselves. Celine successfully created the image of Heloise, an independent, sincere, self-respecting girl. Considering Celine’s love with Adele, I would say that is a choice of both poets and lovers.

The film also demonstrates how to present strong desire in a gentle and slight way. Just like the most important natural screen here, the sea. It’s kind of dangerous, unknown, and Heloise doesn’t even know she can or can not swim, but desire is like the wave, it’s an attraction that she cannot escape from. Celine really knows how to shoot the beauty of women’s body. Although Adele and painter’s bodies look quite modern, but beautiful girls all keep their armpit hair!

Compared with what Carol brought to me, a more personal emotional touch, Portrait of lady of fire is more like a sigh in everyone’s life. It’s not even the love that touches me, it’s life itself. It’s a tear that gradually disappears in the rain. Although we all try to catch every trace it leaves.

Delicately designed plots, highly self-consistent logics, not to mention the superb views, shoots, aesthetic taste for colors and acting skills by both Actresses. Celine said every the small movements is detailedly designed, e.g. how many steps it takes to walk from one spot to another; to what extent should Adele shake her chest in the last long shot, nothing comes for granted. It reminds me of Farewell my concubine, how Yuan comments on how the steps are decided in Chinese opera. The best arts are always accumulated by every small detail. When we see a super perfect and smooth surface of a movie, it contains countless complicated twists and paths inside. And that’s how this breathtaking piece came into existence.