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At first, it appears to be a stiff and staid costume drama, a film of stiff upper lips and even stiffer fabrics.

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There is a sense of prim propriety in every frame — the emotion restrained as society would have dictated at the time. There is only music in two key scenes, resulting in a kind of hushed silence that hangs over the film, broken only by tentative conversations shared between the two protagonists.

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Sciamma finds the passion in stolen glances, verbal tete-a-tete between painter and muse, a cautious exploration of feelings left unsaid. It is through that lens that the film builds its emotional center, through a prism of longing and memory, regret and reation, a dreamy recollection of a love affair long past slowly returning through the haze of time. It's a film of restraint, of buried emotion, exploring the ways in which women were expected to speak and behave, and then boldly reading between the lines.

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It manages to be smoldering and sexy and deeply romantic more because of what the characters don't say and don't do than what they actually do. She not only invites the painter to see herself through her subject's eyes, she invites us to reexamine life through the female gaze and look at love anew.

Marianne winston salem north carolina women nude

For a film of such delicate quietude to achieve such earth-shattering power is something truly special indeed. He now resides in Boone and has a blog where he posts regular movie reviews and commentary at www. Facebook Twitter .

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‘Portrait of a Lady on Fire’ seems to invent love anew