Sciamma is a founding member of Le Collectif, a French movement aiming to correct the gender imbalance in international film-making. There, too, were the names of several other female directors snubbed by the Academy. “Consent,” says Sciamma, “is sexy.”Įarlier this month, Natalie Portman walked the Oscars red carpet with “Sciamma” sewn in gold stitching on the trim of her Dior cape. When they finally act on it, the consummation is as fiery as it is respectful. As the film progresses – at its own, teasing pace – their interactions become so heavy with desire that it’s almost unbearable. But gradually, that stiffness gives way to intrigue, then attraction.
They’re awkward at first, Héloïse stiff with suspicion, Marianne struggling to keep up the ruse. The bride-to-be refused to sit for the other (male) painters, so Marianne must attempt to do the portrait under the guise of being her chaperone, snatching glances as they walk along the clifftops. Noémie Merlant is Marianne, a young artist hired to paint Héloïse for said nobleman ahead of the wedding. Mysterious and obstinate, she is soon to be married off to a Milanese nobleman, a prospect she dreads. Set in 18th-century Brittany, the film stars Adèle Haenel – who worked with Sciamma on Water Lilies, and with whom the director was in a relationship for a number of years – as Héloïse.
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