#neonrated

What would you like to say to your Letterboxd fans who have fallen so completely in love with your film? Céline Sciamma: Well thank you! No, but really. Because what touched me the most is the fact that people will write about films. And that’s the beauty of this digital era. I’m paying a lot of attention about what’s going on around the film, what is being said. I’m really looking at things, so I’ve seen a lot of Letterboxd [reviews]. And I’ve seen that Letterboxd, at some point, used the emoji thing, which was really, really beautiful and fun [Sciamma is referring to the fire and picture frame emoji we added to our Twitter name at the time of the film’s release last year].

And the fact that people who were touched by the film would take the time to write about it, I think it’s something really beautiful, especially with this film, which is about how love is an education to art. Because art consoles from love, or makes us greater lovers. I find it beautiful that people would express their feelings and put their heart and their mind into cinema. As a young cinephile there was no internet, and I remember writing, just only for myself in little diaries, about film. And so I found it really, really important.

There’s one question we like to ask every filmmaker we speak to: what is the film that made you want to become a filmmaker? Well, the film that made me understand filmmaking, mise-en-scène, was The Umbrellas of Cherbourg. Jacques Demy, as a director, his films in France, we see them when we are very young; he made Peau d’âne, which is a film that is shown to kids. He is such a great director. Definitely as a young kid—I was twelve years old—I found out that, okay, there’s somebody behind this with a vision. Somebody would paint a city like in Les Demoiselles de Rochefort. Somebody would paint a wall to make it sing the vision of somebody.

And when discovering mise-en-scène—the fact that there was a director, a vision of somebody—it really blew my mind. I remember I fell in love with the idea of cinema. So, you know, it’s not one film that makes you want to be a director. There are some films that connect you to the idea of cinema and vision and just make you crave for this idea.

Before this interview, we asked our community to submit questions for you. The first is from Letterboxd member ‘I’, who wants to know if you were inspired by any movie in the process of making Portrait of a Lady on Fire. When I’m writing a film, or just even just going with the idea of starting to dream about a film, I don’t watch films anymore, because it’s a very fragile moment. I’m trying to be candid and I’m trying to create this prototype and not to begin being in dialogue with the history of cinema.

But then when the script is done, and especially when we are talking with the team, with the DP, there are some films that can come up in the discussion. “Okay, we should we should take a look at that,” regarding one specific issue. For instance, with Portrait of a Lady on Fire, regarding the lighting, there was this idea, I mean you could definitely look at all the period-piece films and be like, “What about the candles? Are they in the frame? Are there a lot of candles? Are they on chandeliers? Or are they held?”

So, I’m thinking about that, this issue of the light in the candles. Night. Day. So me and [cinematographer] Claire Mathon, we had that discussion. So Kubrick, Barry Lyndon, we watched obviously.

And also at that moment I’m trying to watch, not specifically films that seem to be related, but films that give me faith in cinema. For instance, Jeanne Dielman by Chantal Akerman, which is such a radical film. I’m trying to get radical positions that have nothing to do with the film, subject-wise, but of people who firmly believed in the language of cinema, and were radical about it. I’m trying to watch radical films that renew your faith in cinema. I mean, they’re major pieces of art, but just give this feeling that you can be radical, you can be bold, and to get this excitement about, really, the language of cinema.

Many of our members are writing that Portrait of a Lady on Fire is the most romantic film ever made, and one of the best expressions of female desire ever put on screen. What’s the most romantic film you’ve ever seen? You know, it’s weird because when I think about it… film is emotional right? A lot of the things that come to my mind are films that are not necessarily pure love stories. This is gonna sound stupid, but E.T., for instance, is a great love story. This is a great love story for me, and one of the greatest endings in terms of how a relationship ends: E.T. has this idea that the breakup between the two characters is… they want the same thing. And that’s why they’re breaking up, because one is saying “come” and one is saying “stay”, which I think is the most heartbreaking breakup, not being a breakup.

I think there might be a new contender for most heartbreaking breakup. The ending of it is really climaxing. Because when we watch love stories, it’s harder, the frozen image of two people leaving in a car, you know, marriage, whatever. Like the romantic-comedy ending where they end up together, then that’s the end. Eternal possession as a promise of fulfilment. Or, it’s the tragic ending, where they will never [be together]. And I really tried to find another way [in Portrait of a Lady on Fire], like in E.T. you know, it’s two people saying “I love you” but not being together. It’s a new narrative of love.

So I’m always trying also to think about forms. Mulholland Drive is a film that definitely was also an inspiration, because it’s a film that creates its storytelling around an idea of love. Everybody said: “Oh this film is so hard to get”. [But] it’s really simple. It’s like the first part is a dream of a story that has already happened. And so Lynch created this, screenwriting-wise, he created this idea that those two women, they meet and suddenly they’re in bed together and one says “I think I’m in love with you”, which means that Lynch is telling us that “I love you” is always something you say in the past. And with Portrait of a Lady on Fire, I was thinking I have to create a form where “I love you” is something that always has a future. So that’s the kind of dialogue I have with films that inspire me.

And also Titanic. It has kind of the same structure as Portrait of a Lady on Fire: the presence of a love story but the memory of a love story. And also, not being together even though there’s a tragic death. It’s a love story about emancipation. And that’s so much what we’re trying to tell: it’s not about whether you end up together, or you don’t. A good love story isn’t about that, it’s about: did it give you emancipation?

This last question is from Pauline: “How much do I need to pay you to hire Kristen Stewart—who has just said Portrait was her favorite movie of 2019 and that she has seen all of your movies—in your next project? I’m ready to write the check, just say a number.” Well no, it’s not about the money. But I met Kristen Stewart a few months ago. So I mean, it’s already a start. We talked about cinema, and, and I really enjoyed talking about cinema with her, so…

‘Portrait of a Lady on Fire’ is in select US theaters now, and on wide release from 14 February. This interview took place in the English language and has had minor edits for clarity. With thanks to NEON, Cinetic Media and Ginsberg/Libby.

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Céline Sciamma was also touched by the attention that Letterboxd members have paid to Portrait of a Lady on Fire, which had a limited US release in December and gets a wider run in February. “I’m paying a lot of attention about what’s going on around the film, what is being said,” she told us. “I’m really looking at things, so I’ve seen a lot of Letterboxd”—she sees you!—“and the fact that people who were touched by the film would take the time to write about it, I think it’s something really beautiful because, especially with this film, which is about how love is an education to art—because art consoles from love or makes us greater lovers—I find it beautiful that people would express their feelings and put their heart and their mind into cinema.”

Getting to the heart of why we created Letterboxd, Sciamma concluded: “That’s the beauty of this digital era. As a young cinephile there was no internet, and I remember writing, just only for myself in little diaries about film. And so I found it really, really important.”

The two highest-rated films of the year are both distributed in the US by NEON, who we are proud to have on board as an official presenting partner for the 2019 Year in Review. NEON’s manager of acquisitions, Mason Speta, says: “The Letterboxd community is home to the most committed and passionate cinephiles, and we couldn’t be more thrilled to be recognized by the people who love movies as much as we do.”

In that same Cannes piece, we highlighted just one documentary, For Sama. The heartbreaking first-hand account of life as a young mother in Aleppo has gone on to become our Highest Rated Documentary of 2019. “It really means a lot to us,” director Waad al-Kateab told us. Her co-director Edward Watts added: “To know that it’s reaching so many people is such good news. The dream was always that the film would reach so many people and they would come in contact with this incredible story, so it’s fantastic to hear that people have seen it, and that they like it!”

The Lighthouse also appeared on our Cannes list; it finishes the year as our Highest Rated Horror (read our Q&A with writer-director Robert Eggers here). Quentin Tarantino is 2019’s Most Watched Director, after thousands of you revisited his back catalog in anticipation of Once Upon a Time... in Hollywood.

A global scan of the 50 Highest Rated Narrative Features favors the US, with 20 films on the list, but the remaining films come from far and wide: Korea, France, China, Brazil, India, Japan, Spain, Germany, Colombia (twice), Turkey, Sweden, Romania, Italy, Mexico, Austria, Iceland, and a couple set in the Arctic Circle and outer space.

We’re very pleased to see, in the highest rated category, that two of the top three directors are women—Céline Sciamma and Greta Gerwig. The only other time a woman has featured in the top three in our history of Years in Review was in 2017, when Gerwig’s Lady Bird took the second spot. Overall, ten women directors feature on the top 50 narrative films list, down one from 2018’s record of 11. On the other hand, ten women directors feature among the 20 highest rated documentaries, with Waad al-Kateab and Beyoncé Knowles in the first and second spots. These are the ten highest rated films by women directors in 2019, and here are the 10 most popular.

Best of the decade

Also included in this year’s review is an extensive selection of 2010s best-of-decade lists, covering narrative, non-fiction, directors, directorial debuts, action/adventure, animation, sci-fi, comedy, comic/manga adaptations, horror, romance, war, mini-series, comedy specials and underrated films of the decade.

There’s so much to explore, so that’s it for now, but the goods keep coming! Look out for interviews with the directors of For Sama and Portrait of a Lady on Fire in the next few weeks. We’d love to hear your observations in the list comments, and to know what you’re anticipating most in 2020.