Portrait of a lady on fire / Neon and Lilies Films present ; in association with Arte France Cinéma and Hold-Up Films & Productions ; with the participation of CNC ; with the support of La Région Île-de-France ; with the participation of Canal+, Ciné+, Arte France ; in association with Pyramide, MK2 Films, Cinécap 2 ; produced by Bénédicte Couvreur ; written and directed by Céline Sciamma.

France, 1760. Marianne is commissioned to paint the wedding portrait of Héloïse, a young woman who has just left the convent. Because she is a reluctant bride-to-be, Marianne arrives under the guise of companionship, observing Héloïse by day and secretly painting her by firelight at night. As the tw...

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Bibliographic Details
Uniform Title:Portrait de la jeune fille en feu (Motion picture)
Other Authors: Sciamma, Céline, 1980- (Screenwriter) Couvreur, Bénédicte (Cinematographer) Mathon, Claire (Costume designer) Lacheray, Julien (Actor) Guiraud, Dorothée (Actor) Grézaud, Thoma (Actor) Merlant, Noémie, 1988- (Actor) Haenel, Adèle (essayist.) Bajrami, Luàna, 2001- Golino, Valeria Bittencourt, Ela, 1975-
Format: Video DVD
Language:French
English
Published:[New York, N.Y.] : The Criterion Collection, [2020]
©2020
Edition:Director-approved DVD special edition.
Series:Criterion collection ; 1034.
Subjects:
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500 |a Special features: new conversation between director Céline Sciamma and film critic Dana Stevens ; new interviews with actors Adèle Haenel and Noémie Merlant ; interview with cinematographer Claire Mathon from the 2019 Cannes Film Festival ; interview from 2019 with artist Hélène Delmaire on creating the paintings for the film, along with behind-the-scenes footage ; an essay by film critic Ela Bittencourt. 
508 |a Cinematography, Claire Mathon ; editor, Julien Lacheray ; costume designer, Dorothée Guiraud ; set designer, Thomas Grézaud. 
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511 1 |a Noémie Merlant, Adèle Haenel, Luàna Bajrami, Valeria Golino. 
521 8 |a MPAA rating: R; for some nudity and sexuality. 
520 |a France, 1760. Marianne is commissioned to paint the wedding portrait of Héloïse, a young woman who has just left the convent. Because she is a reluctant bride-to-be, Marianne arrives under the guise of companionship, observing Héloïse by day and secretly painting her by firelight at night. As the two women orbit one another, intimacy and attraction grow as they share Héloïse first moments of freedom. Héloïse's portrait soon becomes a collaborative act of and a testament to their love. 
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