NOTE: This is a GIF-heavy review. I need visuals to help illustrate my point on why I think this movie is 🔥🔥🔥… (I got jokes)
So I’ve never seen “Persona” (1966) by Ingmar Bergman in its entirety, but I have seen a few key scenes to confidently provide a visual comparison.
Aight, so…
In “Portrait de la Jeune Fille en Feu,” Marianne (played by Noémie Merlant) is introduced to Héloïse (played by Adèle Haenel) as a companion to help assuage the grief of her sister’s recent death. Héloïse’s mother, however, commissions a portrait from Marianne, a painter, to send to Héloïse’s potential husband for a union arranged by the two families. The previous artist was not successful in Héloïse’s portrait leaving a beautifully painted, headless work in Marianne’s new secret workspace. She must try to accomplish this task incognito, but it’s a challenge. On their daily walks, Marianne must remember Héloïse’s distinct facial features, minuscule movements, and other expressions to later paint in private all while continuing to keep up with her naive companionship. She begins to feel guilty, and later presents the finished portrait to Héloïse and is met with visceral criticism: a moment in the making for their deeply subtle, and incredibly entrancing burgeoning relationship.
I call out Bergman because there were so many moments in this film that were (I’m assuming) an homage to his work.
For example:
This
V.
This
And…
This
V.
This
and finally,
This
V.
This
See what I mean. Also, #queercinemabepoppin’ 🌈🌈🌈🌈
People often say comedy is all about timing, and I agree. Improper pacing can kill a joke, or suck the joy out of a comedic situation. I think this is true also for drama, and definitely in moments of intense passion, not specifically sexual intercourse, but for intimacy. In this film, the words of the screenplay were minimal, but the actions were focused, intentional, and effective. Even in its simplicity and balance, the actresses’ talent and tone poured through the writing. I don’t think I’ve seen a romance this patient on film since “Call Me By Your Name” (2017).
I think I applaud the writing over all other elements in this work.
Now wait, I lied. Because that abortion scene…
…with the baby next to her. Sis, I… that shit had me like ⬆️ with the prayer hands under my chin just…
But forreal-forreal aside from the screenplay and the actors and the director/writer, all praises to the cinematographer and her use of the Leitz THALIA lenses and RED DSMC2 Monstro 8K camera. Bruh, this combo def made this film LOOK like a moving painting, an appropriate choice given the subject. I mean, I wonder how much of the film’s final appearance was done in post. And I’d love to know how light works with the lenses because it seems only natural light sources, such as sunlight, candlelight, and flames from a fireplace and bonfire, were used. If so—uber-impressed. What an interesting challenge!