It’s too uncomfortable to hold back and not be able to write, no matter what it will be written, let’s express it.
The first time I watched it on an airplane. Outside the window was a relatively still darkness at a high altitude, as if floating in space. There was no soundtrack in the first half of the movie. It was the same quiet inside and outside. Slow down in enclosed spaces. Scattered eyes follow the story slowly and slowly, feeling the distance and eye contact of the women on the island, until the end Xia wakes up and tries to catch something in the long shot that zooms in on Héloïse, the residual sound diffuses from the eardrum to the whole body, so that the surrounding The dialect was mistaken for French. The details are nothing but impressed by the bewildering Orpheus myth of the time, their brief sweetness and hasty farewell, but regret is like a wave hitting a reef, in the day and night of each cycle of The Four Seasons. Some time ago, the Beijing Film Festival was fortunate enough to grab a ticket. With the feeling of reunion on the screen, just like Marianne's second time to paint Héloïse, "to stare".
Non possum fugere.
In order to complete Héloïse's pre-wedding portrait, painter Marianne first looked at it from a male perspective. In order to paint her well, she tried to understand, accompany and comfort Héloïse. But when her satisfactory painting was rejected by Héloïse, Marianne also doubted herself, unable to understand her, how to paint her well. For Héloïse, who grew up in the church and faced the fate of marrying away in place of her sister who died by suicide, the painter who appeared at the right time became a more and more intimate partner in the "ambiguous" meeting and getting along. The object becomes the subject of an equal relationship, feeling both freedom and her absence. Looking at Marianne playing Xia in a panic, the eyes were so amazing, I already fell in love at that time. And Marianne couldn't help herself in the next mutual gaze, "You once asked me if I knew what it was like to be a lover, now let me answer you yes, and it was never in the past tense." A caress for a lover. The warm stare of the two in the bonfire, accompanied by the women's Acappella repeatedly chanting "I can't escape", pushed the emotions inside and outside the play to their peak.
When I watched it for the first time, I felt that the transition to tearful staring and kissing at the seaside felt quite natural. The main reason for rewatching is to not miss important details and the timeline for confirming emotions. In the first half of the plot, the eyes of the two of them have actually pushed most of the emotional progress, so it is hard not to smile when you see the continuous questioning about mutual gaze observation, "When you look at the person in the picture, who am I looking at? ?", sometimes interspersed with the abortion experience of the little maid, making them more identified and intimate with each other. For the first time on the screen, I can see the magnetic attraction between women, interspersed with sultry eyes and breaths. It doesn't take too many words to understand what the other is expressing, and the environment of indoor natural light and fierce waves makes the audience feel If I can't escape, I can smear the folds between the sleeves with a paintbrush "rustling" with my eyes closed.
Retourne-toi.
The story of Orpheus aroused the different opinions of the three women, the little maid thought it was incomprehensible, Marianne gave "a poet's choice, not a lover", and Héloïse read it and thought that "it was his wife Eurydice who called him back. , so he turned back." Greek mythology is more about the immutability of fate. Views on mythology are intertextualized with their choices in this story. In the end, Héloïse put on a white wedding dress and called her lover to look back. Marianne looked back and saw her, and then the door sank down. lingering tears). Years later, when Marianne recreated their story in a painting, there was a comment that "people are used to depicting the scene before Orpheus turns back, or his mournful face after his wife's death. In your painting, they are just saying goodbye". Coincidentally, there is a "don't look back" in the "Spirited Away" movie, which is a very interesting contrast.
The later re-watch was to find out whether Héloïse saw Marianne in the final Milanese theater?
This is the scene where I can't help but follow the camera and get lost in the camera every time. Héloïse burst into tears in the stormy summer movement. Did she think of her lover, "The symphony is not happy, but full of vitality" for her to explain and play the appearance, the storm hits just like the burning passion burning in the movement is rapid, passionate and surging, the blurred eyes are all left with 28 pages of secrets She is the one who is copying herself when she is sleeping, the one who smiles and makes me take it seriously when I paint, the one who tells me not to fall asleep too quickly on the last night, and the one who looks back poetically. Those who stared were already in tears.
Eyes never met this time
Just watched it again last night, and now I tend to think that I saw her, but I haven't looked back. Perhaps because she wanted her lover to remember the moment that belonged to them forever, she made the lover's choice.
Reminds me of a passage from The Little Prince.
You can only see it if you look carefully
What really matters is invisible to the eyes
won't they be together again
they will
The fox can see the little prince as long as he looks with his heart
I like the analysis of this master very much, and I have learned:
"Portrait of a Burning Woman" Review - Equal Gravity
A Review of "Portrait of a Lady on Fire" - The Politics of Watching
Commentary on "Portrait of a Burning Woman" - Endless Restraint
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