Movie “Portrait of a Girl on Fireplace”. Experiences and Movie Trailer.

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Portrait de la jeune fille en feu


Movie Portrait of a Girl on Fireplace Description
On an isolated island in Brittany on the stop of the eighteenth century, a female painter is obliged to coloration a marriage portrait of a young woman.




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  • Marianne: Noémie Merlant
  • Héloïse: Adèle Haenel
  • Sophie: Luàna Bajrami
  • La Comtesse: Valeria Golino
  • La faiseuse d’anges: Christel Baras
  • L’élève atelier: Armande Boulanger
  • L’homme salon: Guy Delamarche
  • La batelier: Clément Bouyssou
  • Peasant Girl (uncredited): Michèle Clément
  • Peasant Girl (uncredited): Cécile Morel


  • Sound Editor: Valérie Deloof
  • Co-Producer: Rémi Burah
  • Visible Results Supervisor: Alain Carsoux
  • Director: Céline Sciamma
  • Producer: Bénédicte Couvreur
  • Normal Music Composer: Jean-Baptiste de Laubier
  • Editor: Julien Lacheray
  • Casting: Christel Baras
  • Costume Invent: Dorothée Guiraud
  • Director of Photography: Claire Mathon
  • Production Invent: Thomas Grézaud
  • Steadicam Operator: Mathieu Caudroy
  • Make-up Artist: Marthe Faucouit
  • Co-Producer: Olivier Père
  • I/O Manager: Romain Moussel
  • Production Manager: Claire Langmann
  • Foley Artist: Vincent Milner
  • Sound Re-Recording Mixer: Daniel Sobrino
  • Production Secretary: Laetitia Dom
  • Stunt Coordinator: Yves Girard
  • Co-Producer: Véronique Cayla
  • Stunts: Sybille Blouin
  • Key Make-up Artist: Marie Luiset
  • Sound Engineer: Julien Sicart
  • Electrician: Vincent Taberlet
  • Grip: Jean-Marc Duez
  • Foley Recordist: Edouard Morin
  • Stunt Double: Cecilia Ngo
  • Stunt Coordinator: Grégory Loffredo
  • Script Supervisor: Cécile Rodolakis
  • Normal Music Composer: Arthur Simonini
  • First Assistant Digital camera: Alan Guichaoua
  • Gaffer: Ernesto Giolitti
  • Electrician: Sébastien Combe
  • Digital Compositor: Christian Tomikowski
  • Dialogue Editor: Sarah Lelu
  • Sound Assistant: Clémence Peloso
  • Extras Casting: Marie Pierre Delabrière
  • Third Assistant Digital camera: Lisa Billuart-Monet
  • First Assistant Director: Delphine Daull
  • Make-up Artist: Aurélie Cerveau
  • Assistant Unit Manager: Romain Bonningue
  • Assistant Unit Manager: Julien Chapeaucou
  • Second Assistant Director: Anaïs Couette
  • Assistant Director Trainee: Luca Zentillin
  • Painter: Lionel Brison
  • Building Coordinator: Guillaume Diehl
  • Graphic Clothier: Baptiste Magis
  • Assistant Art work Director: Pierre-Yves ‘Pipo’ Perot
  • Digital Compositor: Olivier Tournayre
  • Electrician: Gaël Carrière
  • Electrician: François Gallou
  • Electrician: Mickael Georgeault
  • Easiest Boy Grip: Charles Lagorce
  • Easiest Boy Electrician: Thibault Lery
  • Second Assistant Digital camera: Ombeline Tamboise
  • Key Grip: Marc Wilhelm
  • Extras Casting Coordinator: Ange Amiel
  • Seamstress: Coline Bavois
  • Intention Costumer: Agathe Meinnemare
  • Colorist: Jérôme Bigueur
  • Field Scout: Samuel Rodriguez-Mallet
ALSO REVIEW: Movie "Yojimbo". Reviews and Movie Trailer.

Credit score: TheMovieDb


  1. Because the credits began to roll on ‘Portrait of a Girl on Fire’, I used to be almost incapable of transferring or talking. Every time I didn’t deem the movie could be ready to salvage any better, Céline Sciamma elevated it to even higher, more incomprehensible heights, culminating in undoubtedly one of the vital remarkable moments in twenty first-century cinema. Here’s a rare and precious movie, breathtaking in its craft and intensely correct in its passions. Here’s a movie that aches, that longs, that dances in ecstasy and raises its hands to the sky, angelic and ferocious and ideal. Merely put, ’Portrait of a Girl on Fire’ is a masterpiece, and undoubtedly one of the vital easiest motion photos of this or any 300 and sixty five days.
    – Daniel Lammin

    Read Daniel’s beefy article…

  2. Céline Sciamma, creator and director of “Portrait of a Girl on Fire,” calls her period movie a “manifesto on the male look.” Here is the most staunch, excellent description of her tale of a romance between two French girls in the unhurried 1700s. Here is an impeccably detailed, superbly acted, subtle drama with a valorous feminist attitude that’s as stirring because it is idea-upsetting.

    Marianne (Noémie Merlant) is commissioned to paint the wedding portrait of Héloïse (Adèle Haenel), a young lady who has brilliant left the convent. On tale of Héloïse is a if fact be told reluctant bride-to-be, Marianne arrives below the guise of companionship, looking out on the smallest of vital aspects in regards to the girl by day and secretly characterize her by firelight at evening. Because the 2 girls employ their days with one one other, intimacy and appeal develop, and the portrait becomes a symbol of the depth of their fancy.

    The lead performances are mannered and structured in the ideal manner. The powerful desire between the 2 girls is manifested in a look or cautious examination of a wisp of hair or the manner Héloïse crosses her hands. There’s a aloof depth to the emotional and bodily intimacy between these two girls, making this fancy tale’s discontinuance if fact be told feel the whole more heartbreaking.

    Here is largely an all-female movie, and the men temporarily considered on conceal play small importance. Rounding out the characters are Héloïse’s mother (Valeria Golino) and housekeeper Sophie (Luàna Bajrami), who each bear crucial roles in the tale because the movie explores points affecting girls on the time, including organized marriages, occupation expectations, and properly being concerns.

    The movie itself is fully gorgeous, with gorgeously romantic and lush cinematography by Claire Mathon surroundings a sensual tone that enhances the tale. The artistry is unparalleled, making “Portrait of a Girl on Fire” undoubtedly one of the vital highly effective, psychological dramas of the 300 and sixty five days.

  3. Elephantine overview:

    Celine Sciamma’s fourth impartial movie, _Portrait of a Girl on Fire_, is a triumph. Few romance movies take hang of the totality of fancy, loss, and remembrance in the manner Sciamma does in this movie. The story is easy: Marianne (Noémie Merlant) has been employed to paint a portrait of Heloise (Adèle Haenel) to be sent to the Milanese nobleman she is to marry. He will not be going to marry her until he sees what she seems treasure. Diversified artists like tried and failed to paint Heloise, but she has resisted because of she doesn’t must be married. Marianne pretends to be Heloise’s strolling accomplice, the whole while discovering out Heloise so she will be able to paint her in secret. At final, though, Marianne’s secret is published and Heloise has the same opinion to take a seat for her.

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