INDICATED THE GOLDEN GLOBE®
BEST FOREIGN FILM
NOYesMIE Merle – ADISTHE HAENEL
PORTRAIT OF A YOUNG IN FLAMES
AN CÉ MOVIELINE SCIAMMA
Portrait of the young girl em fire | France | 2019 | 121 minutes | Romance/Drama
France, 1770. Marianne is hired to paint the wedding portrait of Héloïse, a young woman who just left the convent. Because she was a reluctant bride, Marianne comes under the guise of company, watching day Héloïse and painting at night secretly. As the two women approach, intimacy and attraction grow, while sharing the first and last moments of freedom of Héloïse, before the impending marriage. The picture soon becomes a collaborative act and will love them.
Nominated for Golden Globe and winner of awards for Best Screenplay and the Queer Palm at the Cannes Festival, PORTRAIT OF A YOUNG IN FLAMES solidifies Céline Sciamma among the most exciting filmmakers in the world today. Noémie Merlant and Adèle Haenel transform the subtle act of looking in a dangerous and captivating emotion, creating stunning and elegant performances. Marianne observe and Héloïse falling in love is to see, on the movie screen, the invention of love itself. With important themes in period costumes, PORTRAIT OF A YOUNG IN FLAMES is one of the greatest love stories ever told.
ABOUT THE MOVIE
One of the most talked about works well and evaluated the year, PORTRAIT OF A YOUNG IN FLAMES It is the fourth feature film from acclaimed director Cisline Sciamma, of "Lilies Water", "Tomboy" and "Girls".
Prismio Best Screenplay Cannes Festival
Queer Palm at Cannes
(Céline Sciamma is the first woman to win the prize)
Nominated for Golden Globe® Best Foreign Film
other Prismios (Atis the moment):
Prismio for Best Film at the Chicago Festival (PrisMy Golden Hugo)
Prismio Silver Q-no Festival Hugo Chicago
Best Cinematography for Claire Mathon in pool of watera CrinTicos New York
Best Cinematography for Claire Mathon in pool of watera CrinTicos Los Angeles
Best Movie LinForeign ngua the pool ofOnline CrinTicos New York
Top 5 Movies LinForeign ngua the National Board of Review
Best Screenplay at the European Film Awards (Most European Film Awards)
Prismio do POPUBLIC for Best Film at the Festival MixBrasil (Opening Movie)
Best Film on Women in the Association of Women CrinTypical Film
Best Foreign Film at the Association of Women CrinTypical Film
Best Par in a Motion Picture (OnisMy Merlant and Adisthe Haenel) the Association of Women CrinTypical Film
Best Cinematography for Claire Mathon in pool of watera Crinticos Boston
Prismio Tom Poe for Best Film in the pool of LGBTQa Crinticos Kansas
PrisMy dos CrinTypical of Norway
Prismio do POPUBLIC for Best Film at the Melbourne Festival
LGBTQ Best Film at Key West Film Festival
Prismio Art Best Movie Film Festival in Hamburg
PrisMy Rare Pearl no Festival de Denver
other IndicaçõES (Atis the moment):
Best International Film at the Spirit Awards (“Oscar Film Independent”)
Best European Film at the Goya (“Oscar Spanish”)
Best Director for Cisline Sciamma – EFA (PrisEuropean Film mio)
Best Actress for InisMy Merlant and Adisthe Haenel – EFA (PrisEuropean Film mio)
Best Movie Linngua in Foreign Critics’ Choice Awards
Best Movie LinForeign ngua the pool ofOnline CrinTicos Los Angeles
Best Movie LinForeign ngua the pool ofa CrinTicos Chicago
Best Cinematography in the pool ofa CrinTicos Chicago
Best Costume Design in the pool ofa CrinTicos Chicago
Best Movie LinForeign ngua the pool ofa CrinTicos Washington DC
Best Writer woman in the Association of Women CrinTypical Film
Best Picture of a woman at the Association of Women CrinTypical Film
Best Movie LinForeign ngua the pool ofa CrinTicos Toronto
Best Movie LinForeign ngua the pool ofa CrinTicos Seattle
Best Cinematography in the pool ofa CrinTicos Seattle
Best Movie LinForeign ngua the pool ofa CrinTicos San Francisco
Best Movie LinForeign ngua the pool ofa CrinTicos San Diego
Best Film in the pool ofa CrinTicos Phoenix
Best Movie LinForeign ngua the pool ofa CrinTicos Phoenix
Best Cinematography in the pool ofa CrinTicos Phoenix
Best Movie LinForeign ngua the pool ofa CrinPhiladelphia's ticos
Best Cinematography in Online Association of Women CrinTypical Film
Best Movie LinForeign ngua the pool ofa CrinTicos Hollywood
Best Film in the pool ofa Crinticos Boston
Best Foreign Film in the pool ofa Crinticos Boston
Best Film at Lumiisre Awards
Best Direction in Lumiisre Awards
Best actress (OnisI Merli) no Enlightenmentisre Awards
Best Cinematography in Lumiisre Awards
Best International Film at the Satellite Awards
Best International Film at the BIFA Awards
Best European Film at Gaudin Awards
“Obra-prima. An unforgettable film. Perfect.”
“The most fascinating film of the year. It is both an elegy for a doomed passion and a demonstration of the power of art as a memory.”
“An enigmatic drama, superbly elegant … I got stuck in the chair of cinema.”
“A masterpiece sweeping. It has the best final between films this year”
“A rare film. One of the great love stories.”
Los Angeles Times
“It is fascinating at all levels. In his hypnotic film, alive with humor, with sensuality and heartbreaking, Sciamma created nothing less than a work of timeless art. "
“Gorgeous… The world looks different through the eyes of a woman”
“Adèle Haenel and Noémie Merlant are sensational”
“A deep and exciting romance with a modern soul "
“Magnificent… A story of ardent love.”
"Adèle Haenel is mesmerizing"
Lars on Film
"Céline Sciamma signs a magnificent film about the look and the birth of desire"
"Desire, creation, emancipating, shot with such elegance as lyricism. "
"Sensitive and ambitious, tender and cruel as love can be. "
The Seventh Obsession
"From an impressive mastery and a great subtlety, Céline Sciamma cativa. "
The Sheets Cinema
"Céline Sciamma has infinite delicacy a story of impossible love, Adèle Haenel sublimada por e Noémie Merlant. "
"A modern tale, bright and delicate. "
"Uplifting Manifesto and smart about the status of women."
"Between painting and literature, a story of intense love. "
Le Dauphiné Libéré
"It is deeply romantic and deeply reflective: an electric combination. "
Time Out London
INTERVIEW CYesLINE SCIAMMA
Atis now, you worked in tocontemporary peaksâneos, one director of our times. Why this leap back with a film set in the sisass XVIII?
One problem may be old, but that does not mean it is not topic. Especially when a story is so little known. The women artists and even women in general.
When I immersed in research, I knew very little about the reality of women artists of the time. I knew only the stars who have confirmed their existence: Elisabeth Vigee Le Brun, Artemisia Gentileschi ou Angelica Kauffman.
The difficulty in collecting information and files could not obscure the existence of a genuine increase in the presence of women in the art world in the second half of the eighteenth century. The painters were numerous and had careers, mainly thanks to the fashion of pictures. Art Reviews, demands for greater equality and visibility, everything was there.
The Gothic style, about a hundred painters had successful lives and careers. Many of them are in the collections of major museums. But they were not included in the historical accounts. When I discovered the work of these painters forgotten, I felt a great emotion and sadness too. The sadness of the total anonymity of works doomed to secrecy. Not only by the perception of how the history of art made them invisible, but also the consequences: when I look at these images, they disturb me and move me most of all because they are missing in my life.
as youthe question is addressedis direintegrationthe related to recriaçãhistorica?
A film in period costume seems to require more work than others, with a number of people, techniques, you demands, experts and anxieties about the recreation. Actually, It is the same work process. Once deleted the anachronism, we deal with the historical truth of the sets and costumes, so we deal with reality in a contemporary film. The question remains the same: that imagination is implemented in collaboration with the truth.
Paradoxically, all my movies, this is what we had less work on the sets. We shot in a castle that had not been inhabited or restored and whose wood, colors and parquet floor had remained frozen in time. It was a very strong anchor and, therefore, our work focused more on accessories and props, in materials, wood and fabrics.
The new challenge for me was the creation of the costumes. Being able to make it happen with this level of accuracy is exciting.
Especially because I wanted a uniform per character, something that Dorothée Guiraud and I focus. It is a form of custom characterization and we have to deal with the policy of the costumes than ever. The choice of cuts and materials, in particular their weight, It involves both the sociology of character, the historical truth and the performance of the physical limits of the actresses. I was determined that Marianne should have pockets, for example. By their general attitude, but also because the pockets of women would be banned at the end of the century and would disappear. I like the idea of this silhouette, so modern, which is rehabilitated as if reliving.
As I began to dream about the movie, the great challenge of historical recreation concerned the intimate, the emotion of the refund. Although these women knew that their lives were defined in advance, they experienced something else. They were curious, intelligent and wanted to love. Your desires can be part of a world that prohibits such things, but they exist in the same way. Their bodies become themselves when they are allowed to relax, when monitoring decreases, when there is no longer the look protocol, when they are alone. I wanted to return their friendships and questions for them, your attitudes, o humor, the desire to run.
The cast is Central to this issue of representaçãthe.
The paper was written with Héloïse Adèle Haenel in mind. The character was written based on all the qualities that she has shown in recent years. But it was also written with the ambition to give Adèle a new score. Things still did not know about it. Things that, In some cases, I did not know, although they dream of. The role is emotional and intellectual and, Adèle like working with living matter without ever stopping to think about it, it has the power to incorporate desires and thoughts of desires. We work with great precision set, especially in her voice. This collaboration is at the heart of the film, that puts an end to the concept of "muse" to recount the creative relationship between those who watch and who is seen in a new way. In our studio, there muse: there are only two collaborators who are inspired.
Next to Adisthe Haenel, youIt is opted for a new face.
An unknown face me, but not a beginner. I felt that a meeting for the first time with an actress could contribute immensely to the film and the story, especially in the dynamics of love. I wanted to create a double, a couple of movies that had their side and iconic, therefore, its exceptional aspect. Marianne appears in every scene and so it was necessary to have a very strong actress. Noémie Merlant is an artist determined, courageous and emotional. A mixture of precision and excess that made the invention of exciting character, It is revealed gradually as work. As if that Marianne did exist somewhere. And I have a lot to Noémie.
It is the first time you tell experiisINSTANCE Love.
It was my initial desire to film a love story. With two seemingly contradictory desires underlying the writing. Firstly, to show, step by step, as fall, the pure pleasure of it and present. There, the guidance focuses on the confusion, hesitation and romantic exchange. In second place, write the echo story of a love affair, how it lives within us in all its scope. There, the direction focuses on memory, with the film as a memory of love. The film was designed as an experience both pleasure of a passion in the present and the pleasure of emancipatory fiction to the characters and the audience. This double temporality allows us to experience the excitement and reflect on it.
There was also the desire for a love story based on equality. From a stage cast, Christel Baras and I were concerned about this balance. A love story that is not based on hierarchies and relations of power and seduction that exist before the meeting. The sense of a dialogue that is being invented and that surprises us. The whole film is governed by this principle in relations between the characters. The friendship with Sophie, the maid, that goes beyond the class relationship. The frank discussions with the Countess, who has desires and aspirations. I wanted solidarity and honesty between characters.
as youIt is defined question paint?
First, there was the decision to devise a painter, instead of choosing a great inspirational figure. It seemed right to me, in relation to the careers of these women who knew only the present: invent was a way to think of them all. Our historical consultant, sociologist specialized in art painters of this period, Marianne helped make convincing as a painter in 1770, by script reading.
I wanted to show character at work, with all the different layers. And it was necessary to invent his paintings. I wanted to work with an artist and not copyists. I wanted her to have the same age as the character. A painter 30 years working today. I found the work of Hélène Delmaire through my research on painters, which included contemporary works, particularly not Instagram. She was classically trained in oil painting and was very experienced in the nineteenth century techniques. As a trio with cinematographer, Claire Mathon, Focus in this double issue, the creation of the paintings and their execution in the film. How to film them and that time frame. We shot different stages of work and only in sequential scenes. The decision to avoid any dissolution helps form the structure. We choose the actual time of the painter gestures and rhythm, instead of the synthesis offered by edition.
Alism two musical moments participating in the plot, the film has no mOphysical.
I had already planned to make the film without music while writing. I say this because it was something that needed to be thought out in advance. Especially in a love story, where emotion is often musical. We had to think about the pace of the scenes and the arrangement of them. You can not rely on music to bind them, for example. There will be no emergency or backup melody. We are totally dealing with scenic drives. Make a film without music is to be obsessed with rhythm, do it arise elsewhere, in the movements of bodies and camera. Especially since the film is mainly composed of sequential scenes and, therefore, with choreography needs.
It was a gamble, but not seen as a challenge. Also here, basically, It is a matter of recreation. I wanted to make music part of the lives of the characters, like something strange, wanted, precious and unavailable. And then put the viewer in the same condition. The relationship with art in the film is often vital because the characters are isolated. First of all, World isolated, after one another. The film also tells us that art, literature, music and film sometimes allow us to fully control our emotions.
Biography Céline Sciamma
Céline Sciamma was born in Pontoise, France. Studied film at La Fémis Paris, specializing in script. His first film "Water Lilies" (2007), It was shown at the Cannes Festival, na Un Certain Regard. “Tomboy” (2011), his second feature, won several awards, among them the Teddy Jury Award, to work with LGBTQ themes at the Berlin Festival. In 2014, He released his third feature "Girls", displayed in the Directors' Fortnight of the Cannes Festival. "Portrait of a Youth in Flames" It is his fourth feature film, the first selected for the official competition at the Cannes Film Festival, where did awarded Best Screenplay. Céline Sciamma also won the Queer Palm for the film, becoming the first woman to win the prize. "Portrait of a Youth in Flames" It is one of the most talked about films and acclaimed 2019.
SELECTED FILMOGRAPHY OF Noemie Merlant
2019 – Portrait of a Youth in Flames, Celine Sciamma
2018 – Paper Flags, de Nathan Ambrosioni
2018 – Mothers Day, Marie-Castille Mention-Schaar
2018 – The Hero's Return, Laurent Tirard
2017 – plunge, Melanie Laurent
2016 – Heave Will Wait, Marie-Castille Mention-Schaar
SELECTED FILMOGRAPHY Adele Haenel
2019 – Portrait of a Youth in Flames, Celine Sciamma
2018 – Finally Free, Pierre Salvadori
2017 – 120 Beats per Minute, Robin Campillo
2014 – Love At First Fight, Thomas Cailley
2013 – Suzanne, by Katell Quillévéré
2011 – L'Apollonide - The Loves of Tolerance House, Bertrand Bonello
2007 – Lilies Water, Celine Sciamma
Marianne – Noémie Merlant
Heloise - Adèle Haenel
Sophie – Lions Bajrami
Condessa – Valeria Golino
Direction and Screenplay - Céline Sciamma
producer - Bénédicte Couvreur
Cinematography - Claire Mathon
Assembly - Julien Lacheray
Art direction - Thomas Grézaud
Costume - Dorothee Guiraud
Original music - Jean-Baptiste Laubier e Arthur Simonini
As - Julie Sicart, Valerie and Daniel Sobrino Deloof
List - Christel Bar
production - Lilies Films