This is one of the great romances. Writer/director Céline Sciamma’s Portrait of a Lady on Fire (Portrait de la jeune fille en feu) (A+) is a French historical drama tracing the contours and the canvas of an enduring love. Set in France in the late 18th century, this masterwork obeys the conventions of period romances with its windswept coast and Gothic homestead but upends the typical narrative rules in tracing a truly scorching and revolutionary tale. Noémie Merlant plays the commissioned painter and Adèle Haenel her aristocratic subject, and both actresses are spellbinding in their passion for detail and commitment to superb tandem acting. Merlant’s character is told her subject is unwilling to be sketched and thus must be painted in secret, and thus begins an observation period with flourishes of the forbidden. Sciamma creates indelible characters in a ravishing work and weaves an intoxicating chronicle. This feisty and fiercely feminist film rewards those who are patient for character studies and relish movies with the heart of a classic text. This is one of the great sleeper films of 2019 and one adventurous cinema lovers should seek out and see.
This film goes from shock and awe to aw, shucks way too abruptly. Memoir adapter and director Joel Edgerton continues in his horror milieu with Boy Erased (C+), exposing life in a gay conversion therapy center as a form of interior and institutional terror. It’s a bit of a low-key rainbow hued Cuckoo’s Nest or Girl, Interrupted and is extraordinarily effective until it isn’t. In the pro column is the protagonist, a preacher’s son magnificently played by Lucas Hedges, whose heartache and aim to please is palpable. He’s one of the great actors of his generation, and he sells a sometimes hackneyed narrative with dignity and verve. In the con camp are all adult characters: the ex-gay Grand Poobah himself played with little nuance by Edgerton and the conflicted parents played by Nicole Kidman (generally effective if a little treacly) and Russell Crowe (a career worst performance with stone cold lack of subtly). Told awkwardly with occasional flashbacks, there is genuine suspense in some surprisingly bleak moments; other times, the detached hero hovers emotionally above his melancholy surroundings, robbing sequences of conflict. There’s a through line of cautionary importance to this exposé of all-too-common reprogramming procedures. But the final act offers too tidy a resolution. More like goodwill erased.