Céline Sciamma’s simmering Portrait of a Lady on Fire burns with a quiet feminine passion. In 1770, two young women confront love and lust in each other’s arms, as a professional relationship lapses into forbidden romance. Sciamma’s film is delicate but shot with undeniable fury, the evocative and stately cinematography particularly burning off the celluloid. Adèle Haenel and Noémie Merlant bring a low-broiling chemistry to their taboo union that’s impossible to deny, the handsomely-shot period piece rich in emotional texture, digging into its singular and provocative romance with great nuance and care. No moment is spared, no furtive glance wasted, nor are the emotional stakes heightened to flashy levels in Héloïse and Marianne’s sumptuous unfurling of affection. Try to watch and not feel a bit on fire yourself. (B)
For other reviews, interviews, and featured articles, be sure to:
Follow Silver Screen Riot on Facebook
Follow Silver Screen Riot on Twitter
Follow Silver Screen Riot on Instagram
-
By: Matt Oakes
Started blogging about film in college when the university paper wouldn’t have him. Dislikes your consensus film Twitter favorites. Devotee of horror movies that make him die a little inside. Catches films at festivals when he can. Proud SFCS and OFCS member and Tomatometer-approved critic. Editor-in-chief of Silver Screen Riot.
-
-
‘MOTHER MARY’ Is the First Great Movie of 2026. You’ll Probably Hate It.
John Magaro on the Weight of ‘Omaha’, Being a Thoughtful Performer, and Accidentally Missing Out on ‘The Bear’
‘I SWEAR’ A Heartfelt and Funny Ode to Living with a Misunderstood Disability
Most Anticipated Films of the Seattle International Film Festival 2026
‘FACES OF DEATH’ a Meta Remake That Knows It’s Not the Real Deal
