The painter painted three portraits of the lady.
The first painting is dignified and dull.
"That's how I think I am?"
Under the provocative questioning of the young lady, the painter destroyed it.
The second painting is vivid and vivid.
The painter wanted to get rid of it and couldn't, so he helped the lady sell it for a good price.
The third painting is unrecognizable.
Kan Kan recognized a back, but he couldn't bear to stare, and only dared to put it in the storage room.
Artists' models and muses often have only the fate of being gazed at and reshaped.
Gaze at him, fall in love with him, create another him.
Although it is the love that inspires the desire to create, or whether the artists have fallen into the Pygmalion trap, perhaps they themselves can not say the order.
The film Lady of the is based on Shaw's screenplay Pygmalion, which tells the story of a flower girl who marries a professor who transforms her
Pygmalion was the king of Cyprus in ancient Greek mythology. He originally claimed to be uninterested in women, but fell in love with the statues of women he had carved by his own hands. Eventually, with the help of Aphrodite, the statue transforms into a beauty and lives with Pygmalion.
In any case, it is always their will to touch the muses.
Vermeer pierced the earlobes of her maid, Griyer, and a pair of pearl earrings were stifled with blood, making her a mysterious girl who wanted to say goodbye.
Piercing the ear is a rare intimate contact between the two, and the physical touch is not only the earlobe, but also the heart
[The Girl with the Pearl Earring] earned Scarlett Johansson the first Golden Globe Award nomination for Best Actress in a Feature Film.
Gretel paid the butcher for the rest of his first night, but remembered that Vermeer was the man who left her permanent wounds.
The film is based on the novel of the same name and was inspired by the paintings of the Dutch painter Vermeer, but historically Vermeer's models were generally considered to be the daughters of painters
Rodin rubbed Camille's face, became her teacher and her lover, and carved her knife into a desperately twisted statue.
This touch conveys ambiguity and intermingling far more than any other erotic scene in the film
[Camille Claudel] starred Gerald Padio and Isabella Adjani, and the film also helped Adjani win the Best Actress Award at the Berlin Film Festival.
Camille became pregnant and miscarried, destroyed the sculpture and went to a mental hospital, not forgetting to sue Rodin with conspiracy theories.
The model of Rodin's famous sculpture Danaid is generally considered to be Camille
In [Portrait of the Burning Woman], the painter painted three portraits of the young lady, but the latter was not anyone's "muse".
The film won the Best Screenplay Award and the Queer Palme d'Or in the main competition section of the 2019 Cannes Film Festival
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Miss Eloise refused to be watched.
The young lady did not want to be a well-behaved model, and the painter could not see her face clearly
Her mother tried to return to high society in Milan, relying on her daughter's marriage for chance.
The young lady understood that when her "blind date" portrait was completed, she would be mailed away as a bride like that painting.
After forcing a painter away, the young lady welcomed Marianne.
Marianne accompanied the young lady out to let the wind blow, causing her to temporarily avoid the panic caused by the marriage.
During the day, they run and talk by the sea. Marianne played Vivaldi for the young lady, not noticing the hard-to-hide smile on her face.
At night, Marianne silently sketched the appearance of the young lady.
She was not a female companion, just another portrait painter.
When the first painting was completed, Marianne confessed her identity as a painter. She showed the paintings, which were also ridiculed by the young lady:
"It's not like it came from you, and I'm sad about it."
Like her predecessor, the young female painter destroyed the portrait, for her own sake.
Seeing that the angry mother was about to banish the painter, the young lady stood up:
I'm willing to model her.
The mother left them five days and then temporarily left their residence. With the departure of their mother, the lady, the painter, and the maid form a purely sisterhood.
This is not just a "sorority" on the table to share lipstick and secretly compete, they share the heaviness of each other's lives.
It's like love that's harder to hide than a felony of murder.
In the fire, everything is revealed.
The mother was about to return home, and the portrait had to be completed.
Looking at the works that are still satisfactory, the painter has a hint of destruction. The reason is no longer self-interested—this painting can marry the young lady obediently.
But in the end, she did not dare to let out a sentence of "give up the marriage contract" or "elope with me".
The painter is afraid that the miss should come down, and the miss is also afraid that the painter will open his mouth.
No matter how they decide, they can only be lovers for five days.
Most of the time, [Portrait of a Burning Woman] is an overly quiet film.
The clatter of the waves and the crackling of firewood form the background sound of this film.
The restraint in sound is also reflected in the picture.
There are few depictions of naked and bold erotic scenes in the film, but the desire to cover up is more reverie.
A thousand styles are born in the blank space.
In [Portrait of a Burning Woman], the tension of silence is no less than that of narration.
The film seems to create a vacuum of pure female society, male roles are missing, but male power is never absent in the film.
The death of the love between the lady and the painter is always based on male power.
The painter painted in the name of her father, and the young lady was forced to marry far away. The latter handed over a personal portrait as a "letter of submission", but did not have the opportunity to get a few words from her future husband. In the eyes of the world, she is just a walking womb with her own wealth (dowry).
As a result, she learned about her sister's silent suicide, and the harsh monastery could make her miss it.
Among them, the little maid is like one of the sentient beings who do not understand the "harm" of physiological differences.
The reason for her pregnancy is not described in the film, and the twists and turns of the abortion process are also tried to "downplay".
This indifferent treatment also indicates a normality – the painter has experienced the same thing.
Watching the little maid fail to make her own abortion, she had to find a secret doctor (also a woman) to open her legs, and even if the rough surgical process and sound were hidden, the virgin had to convulse and panic.
Abandon your children under the watchful eyes of children
In this regard, we can't complain about why the pleasure of both sides (even if it is installed) is exchanged for the misery of one party, and we have to thank the merchants who illegally promoted condoms in the nineteenth century.
The mother of the young lady is undoubtedly the spokesperson of male power.
Even though she had left her country because of a portrait, she was now irretrievably reduced from a victim to a perpetrator.
Coincidentally, the portrait of the mother was painted by the father of the painter Marianne
Just as gender power is vulnerable to social power, the mother controls her daughter's fate, but if she wants to change her life, she has to submit to the rich man of Milan.
But leaving aside the widely discussed issue of women as [Burning Portraits], the love story itself is not entirely gender-specific.
Breakups due to family obstruction or responsibility constraints are not uncommon in movies.
The old classics have [Roman Holidays], and the sexual turn has [Become Jane Austen].
Because of her lover's responsibilities, Jane refused to elope
Winning a lot of praise with a "clichéd" text relies on the narration of still water and deep currents.
Considering the background of the eighteenth century of the film, even if reason tells us that we should not expect too much from the feelings of the two heroines, it is inevitable that there will be some reverie for the two people if you think about it a century later.
Perhaps it was not the mother who informed the audience of the outcome of the distant marriage in the morning, nor the five-day limited date, but the story of Orpheus that gave us a preview of the end of the story.
Orpheus was the son of Apollo and Caliopa, the muse of literature and art in ancient Greek mythology. After the death of his wife Eurydice, Orpheus entered the underworld to look for it, and touched Hades, the king of Hades, with the sound of the piano. The king of Pluto agreed to help him resurrect his wife, but demanded that Orpheus must not look back at her before leading her out of the underworld, or his wife would never be able to return to earth. As a result, Orpheus turned back on the way, but caused his wife to disappear, and the two were eternally separated by yin and yang.
The painter chooses to remember rather than stay together, and the lady calls out in exchange for her lover's last look.
Back to the story itself, they don't have orpheus choice, so they leave behind memories that belong to their lovers.
Just as the painter looked back, the young lady disappeared from her forever.
The next encounter was again related to Orpheus.
In the painting (the middle one at the top), Orpheus and his wife are dressed in a way that once again alludes to the two
The painter shows off his own drawing of Orpheus, only to inadvertently find a portrait.
Beside the young lady stood her child, but the slightly opened pages of the book were mixed with another self-portrait.
If this encounter is cruel, it is inevitable to despise the last time.
In the painting, holding a relic, one can still conceive of a kind of divine intercourse.
If she appears at this moment and it is difficult to intersect, what kind of delusion should she rely on in the future?
In the 146-second shot of the lady at the end of the film, the painter watches her go from calm to touch, crying to nostalgia, just like us.
Vivaldi's "Summer" is so intense that we all know the reason for her gaffe, but the painter is like an off-screen spectator, and has no contact with her anymore.
[Portrait of the Burning Woman] has always been regarded as the 2019 Hime film of the year, but it is a little narrow to say that – even if it is placed in the category of romance films, it is good enough.
Although the gender of the protagonist cannot be a measure of this film, on the other hand, the Female Gaze (Female Gaze) [Portrait of a Burning Woman] is also one of the important reasons for it.
Female gaze, which corresponds to male gaze (in this case heterosexual masculine gaze), which was proposed by Laura Mulvey in the seventies.
She takes [Rear Window] as an example, where all the camera angles, narrative choices, and props in the film come from the perspective of the film's protagonist, a male, and the rest of the characters serve his interests and storyline.
Women are always the object of view under the male gaze, and they accept objectification and do not have the opportunity to gaze in reverse.
They act as "carriers of meaning, not creators of meaning," essentially to advance the story of the male protagonist, as a mirror that can easily reflect a man's morality, motivation, and emotions.
At this moment, women are "spectacles" and men are "spectators".
In [Transformers], the camera eagerly examines Megan Fox's bare waist
Of course, the male gaze is not all male (most of them are), and no one (including women) can deny the beauty of the gazed woman on the screen, even if it is impossible to distinguish whether this aesthetic is shaped by the male gaze work.
It's just that when we appreciate the beauty of women's sexual characteristics, we always think of the image of beauty that can usher in a variety of, as well as the complex role beyond the "meat bomb" and the good wife and mother.
They need to tell their stories from an equal perspective.
Since the male gaze symbolizes a kind of objectification, does the so-called female gaze also mean "objectification"?
The answer is no.
Although this time women become spectators, when you objectify the object from the usual male perspective, you are still caught in the male gaze.
This is not the female gaze we are after today.
The so-called female gaze means, to some extent, "not staring" (refusing to objectify), denying stereotypical gender temperament, and breaking the inherent gender bias.
Returning to [Portrait of a Burning Woman], the discussion of female characters does not revolve around men all the time, and the protagonist's intercourse scenes (not like a well-known film of the same genre) are far from the naked spectacle of the flesh.
Here, you don't see either party dominating or subordinating in the emotion. One of them paints and the other is painted, escaping the shackles of unequal power between traditional artists and muses in terms of gaze and hierarchical differences.
The young lady chose to be gazed at by the painter and also looked back at the painter with the same gaze.
The presentation of the female gaze is not unrelated to the director of this film, Serene Sienma.
As a queer director, she has always focused on women's self-exploration and emotional confusion.
The actress who plays the young lady, Adella Hahnel, is the ex-girlfriend of Serene Sianma and has worked on the director's "Daffodil Blossom", but the two were separated by the time the film was filmed
Nowadays, most of the appeal of women's gaze lies in the control of the right to speak, perhaps it will continue to be given new meaning by the times, or it will disappear into history.
One day, after we have equal rights, we will simply say "gaze."