Film

Portrait of a Lady on Fire

Name: Portrait of a Lady on Fire
Genre: Drama, Romance
Released: 2019
Cast: Noémie Merlant, Adèle Haenel, Luàna Bajrami, Valeria Golino, Christel Baras

A slow, exacting love story disguised as an assignment: a painter sent to secretly capture the likeness of a reluctant bride before she's shipped off to a marriage she never chose. Céline Sciamma builds intimacy out of glances, silences, and the mechanics of looking itself. Gorgeous and deliberate, it's for anyone who wants feeling built patiently rather than announced.

TMDb rating

8.1

If you liked this

Carol2015

Todd Haynes turns forbidden 1950s desire into a masterclass in restraint, letting glances and silences carry the weight of confession. Blanchett and Mara's chemistry is glacial and devastating — the same formal control Sciamma brings to her own doomed pair.

But It's cooler and more clipped than Portrait's warmth; the emotional distance keeps some viewers at arm's length rather than drawing them in.

The Favourite2018

Lanthimos takes period costume drama and injects it with venom, wit and genuine desire between women, proving the corset-and-candlelight aesthetic can hold cruelty as easily as tenderness. Colman, Weisz and Stone are ferocious together.

But It's savage where Portrait is gentle — expect biting comedy and power games rather than tenderness or slow-burn intimacy.

Call Me by Your Name2017

A sun-drenched, aching first-love story that shares Portrait's belief that desire is best filmed through gesture and glance, and the unbearable weight of time running out. Guadagnino makes longing feel almost physical.

But Its romance is looser and more impressionistic, less structurally rigorous than Sciamma's tightly controlled film — some find it meandering.

The wildcard

Something you would not have found on your own.

Rebecca1940

Both films are structured around a woman becoming an object of obsessive scrutiny — through a portrait, a room, a lingering gaze — and both ask what's lost when a woman is defined entirely by how someone else looks at her. Sciamma's tenderness becomes Hitchcock's dread; same architecture, opposite temperature.

Hitchcock's gothic thriller about a woman erased by another woman's memory — a portrait, a room, an obsession — swaps tenderness for dread but asks the same question: who gets to be seen, and on whose terms?

But It's a genre piece from a very different era, brisk and plotted rather than slow and contemplative — no explicit queer tenderness, just charged subtext.

Ammonite2020

The most obvious cousin: two women, a repressive era, a slow thaw between them, and landscape doing emotional heavy lifting. Winslet and Ronan bring real weight to a love built from silence and stubbornness.

But It's colder and more clinical than Portrait, and the history it borrows sits more loosely — some found the central relationship underwritten.

The Piano1993

Jane Campion's gothic masterpiece gives a mute woman's interior life through music instead of paint, and a landscape as hostile and beautiful as Brittany's coast. Sensuous, strange, and unapologetically female-gazed.

But It's darker and more violent than Portrait, with a jagged, unsettling edge that some find genuinely upsetting rather than moving.

Little Women2019

Greta Gerwig's take on creative women fighting for authorship over their own lives and art rhymes with Marianne's struggle to be seen as more than a hired hand. Warm, funny, formally inventive.

But It's brighter, busier and far less contained — a family ensemble rather than an intimate two-hander, so the intensity thins out.

Disobedience2018

A contemporary story of forbidden desire inside a closed religious community, with the same sense of two women rediscovering each other under watchful eyes. Weisz and McAdams carry real, awkward, believable heat.

But It's set in modern London rather than a candlelit past, so it trades atmosphere and formal beauty for domestic realism.

Vita & Virginia2019no page yet

A less-celebrated literary romance about two brilliant women defying convention, with Arterton and Debicki bringing real spark to a story about art, marriage and desire colliding.

But It's uneven and sometimes overwrought where Portrait is disciplined — the visual style occasionally undercuts the story's sincerity.

Colette2018no page yet

Keira Knightley plays a woman fighting to be recognised as the true author of her own work, a quieter echo of Marianne's fight to be seen as an artist rather than a service provider.

But It's a breezier biopic with less visual daring — satisfying but conventional next to Sciamma's formal rigor.

Loving Vincent2017

Portrait is a film about what a painting can and cannot capture of a person. Loving Vincent takes that question and makes it the entire medium — every frame a brushstroke, every image an argument about whether art can hold a life. Same obsession with the honesty of paint, wildly different genre.

The world's first fully painted animated feature, built frame by frame from oil paintings, chasing the mystery of an artist's final days. It turns the act of painting itself into the film's grammar — exactly the obsession Marianne wrestles with.

But It's a mystery-biopic, not a romance, and the visual gimmick — however gorgeous — can feel more like a technical stunt than an emotional experience.

Olivia1951no page yet

Olivia was one of the earliest films to portray desire between women without punishment or moralising, made in 1951 when that was radical. Portrait exists in a lineage this film helped quietly start — the same hushed intensity, the same refusal to look away, seven decades apart.

A hushed, nearly-forgotten French film about desire between two women at a girls' boarding school, made decades before it was safe to say so plainly. It has the same restraint, the same charged glances doing all the talking.

But It's slow, formal and openly of its era, with theatrical staging rather than Sciamma's fluid camera — patience required, and it can be hard to find.