With PORTRAIT OF A LADY ON FIRE, Céline Sciamma became the first woman director to win the Queer Palm at Cannes, an embarrassingly belated milestone reminiscent of Jane Campion becoming the first woman director to win the Palme d’Or in 1993 with THE PIANO. And while these two films have much more in common than their directors’ gender, as we discover when we put them in conversation this week, both Sciamma and Campion bring a distinct point of view to their respective stories of repressed desire in repressed times that feels inextricably tied to ideas about womanhood and an oppressive patriarchy. We get into how that point of view colors the two films in their expression of desire and consent, the artistic gaze, and the function of myth and legend. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.

Please share your comments, thoughts, and questions about THE PIANO, PORTRAIT OF A LADY ON FIRE, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Show Notes:

Works Cited

• “French filmmaker Céline Sciamma on looking, longing and falling in love in Portrait of a Lady on Fire,” CBC Radio

• “Portrait of a Director on a Hot Streak,” by Scott Tobias (theringer.com)

Your Next Picture Show

• Genevieve: Céline Sciamma’s GIRLHOOD

• Scott: Jane Campion’s IN THE CUT

• Keith: David Lynch’s WHAT DID JACK DO?

• Tasha: Christopher Landon’s HAPPY DEATH DAY and HAPPY DEATH DAY 2U

Outro music: Vivaldi’s Concerto No. 2 in G Minor (The Four Seasons, “Summer”)

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