Director Celine Sciamma’s mesmerising love story is the ultimate celebration of women artists
Celine Sciamma described her film Portrait of a Lady on Fire as “a manifesto on the female gaze.” Although now a popular buzzword, the expression has never been so powerfully epitomised than in this film. In the 1973 essay Visual Pleasure and Narrative Cinema , Laura Mulvey coined the term ‘male gaze’ to describe the patriarchal lens through which women in film are presented. Female-centric both in front of and behind the camera, Sciamma’s film is about female artists, by female artists, and celebrates the value of women’s work in a historically patriarchal medium. In 18th century France, young artist Marianne (Noémie Merlant) is commissioned to paint the wedding portrait of a merchant’s daughter, Héloïse (Adèle Haenel). In protest of her arranged marriage, Héloïse refused to pose for a previous painter, so Marianne must initially paint her in secret. After Marianne later comes clean that she was sent to paint Héloïse, the merchant’s daughter finally allows her, and Sciamma subverts