Summary
Picture of Beauty is a British erotic period drama from 2017 that skillfully combines elements of art, sensuality, identity, and desire. The film takes place during the early 20th century, right before the modernism and artistic revolutions, and aims to capture the elusive world of women and their relationships as they attempt to creatively express themselves within the confines of the societal standards that govern them.
The story follows two young women, Moth and Lucienne, who are both living at an artists’ colony where women serve as muses to a male painter and his students. The film begins with Lucienne, who is a little too naive for her own good, arriving at the estate she is supposed to model at. The estate is an oasis for artists and thinkers who have no place in the incredibly traditional world outside of the estate.
The arrival of Lucienne disturbs the rhythms of the commune. It is striking that the equally sprightly Moth, with whom Lucienne becomes romantically involved, is more sophisticated and has been a worldlier model. Moth also acts with some tenderness towards Lucienne, reminding her that life is not only about work. Lucienne is seduced by both. She imbibes a culture where art is productive of and productive through sensuality. Over the extended hours devoted to low fashion photo sessions, while accompanied by secretive rendezvous that soon develop into intimate encounters and clandestine discussions, the two women come closer to each other emotionally and sexually in the interspace of the feminine sphere but in the domain of the higher bracket of the arts.
As the readers experience this story unfold, attention is directed to the affairs of the relationship that has developed between the two women, allowing the story to move without structure. The commune where things are set is delicate with artistic romance of nature’s gifts while cosmetically robust, which makes it a site ethnically liberating and subtly stress inducing. This is where the artist known as Gustav, an older man, comes in. He wears and performs the functions of an Ambas-sador, both host and jailor. While yes, he offers the women lapse to probe their personas and their forms, he is and acts as the norm or master that standard the value of beauty as that which is looked on as though it were a trophy.
Jealousies emerge, artist conflicts arise, and issues of control, power, and self autonomy come into play with Lucienne and Moth’s relationship deepening. The previously idealistic world is becoming more complicated as profound issues explode such as, how a person can be a lover, creator, or a subject? The changeable factors, like a romance, a political subject, and even relations between people, have their own logic which is not consistent. In the finale, the film offers an unexpected emotional shock which does not resolve all issues but still transforms the protagonists’ mentality during the remaining frames.
Underlying mood, atmosphere, and emotional aftereffect drive the film Picture of Beauty rather than a plot driven film with sudden revelations or shifts. This film delves deep into themes around feminine lust, self liberation, and the odd border between inspiring and degrading.
Credits:
Casting:
Taylor Sands as Lucienne
Sands’ portrayal of Lucienne is remarkably innocent and emotional sensitive, therefore balancing the film out. This independent European cinema performer manages to reveal through her subtle actions the inner life of a young woman ready to step into the world of adult sexuality.
Danielle Rose as Moth
Danielle Rose’s performance as Moth integrates both sexual and cerebral qualities. She is a character who has already experienced the world of seduction and performance art, and now acts as a teacher and reflection for Lucienne. Her scenes with Sands form the emotional core of the film.
Matthew McMillan as Gustav
Gustav, the artist and patriarchal figure of the commune, is played with understated authority by Matthew McMillan. He embodies a fusion of extreme talent and domineering voyeurism, which captures the essence of the art world’s stereotypical male.
Directed by Maxim Ford
Maxim Ford’s approach to directing is insightful, as he captures a painting in motion; each frame of the film resembles a classic portrait. He avoids dialogue and instead focuses on giving the actors space to emote through movement, telling the story using visuals instead. Ford comes from a background in documentary and art house cinema which could explain the film’s observational style.
Cinematography by Agnieszka Kurek
One of the highlights of Picture of Beauty is its cinematography. Kurek’s handling of natural light in capturing the countryside, the gentle contours of the human body, and the canvas and paint are almost preluded with hyperrealism. The film’s visual language draws heavily from the aesthetics of classical portraiture art which, as a substantial part of the film’s themes, focuses on beauty, sensation, and desire wrought perceptively.
Themes and Artistic Direction
In a more fundamental level, Picture of Beauty is a subdued act of revolt against the standards of woman representation in art and cinema. Although much of the film contains erotic nudity, it rarely borders on exploitative. Rather, feminist—the gaze created through Lucienne-Moth interactions—contexts erotic actions as acts of exploration and empowerment instead of objectification.
The film poses issues on who has the authority to specify beauty, who possess the image of the body, and in what manner is a person’s desire displayed and suppressed in different times. The setting of the early twentieth century serves as a fine backdrop filled with real changes straddling womanhood, sexuality, and modernism. In this regard, the narration operates as a multi-layered-within-a-single-plot framework: a self-formation narrative, romance, and a criticism of the politics of art.
Picture of Beauty touches on queer identity with the subtlety reserved for its period setting. Lucienne and Moth’s love for one another is never fully accepted in the community which resembles the silence that was around LGBTQ+ relationships during that time. Regardless, their bond feels real and rebellious as it exists in fleeting moments of quietness and intimacy.
Critical Reception and IMDb Rating
The rating of Picture of Beauty on IMDb is currently at 6.2/10 which indicates mosaicism to praise and criticism from the spectators. Some viewers appreciating its aesthetic beauty, gentle storyline, and depiction of female sex, while others were not satisfied saying it was too slow-paced or lacking depth in drama. The film has found a certain portion of the audience among enthusiasts of era dramas, art-house erotica, and queer cinema.
The critics recognized the film’s audacious effort to place women in the narrative not just as subjects of lust but giving them agency to control their stories. The critics often pointed out the strong elements of the film such as the camera work, setting decor, and acting from Taylor Sands and Danielle Rose.
Equally, some respondents pointed out that the film’s sparse dialogue and plot may come across as aimless and that the film’s artistry is sometimes more ambiguous than profound. Still, Picture of Beauty has established itself as an intricate examination of art, sexuality, and freedom, which is at once visually elaborate and emotionally poignant.
Conclusion
Picture of Beauty is a profoundly intimate, tender, and beautifully crafted film that captures the viewer’s imagination with its artistic form and sensuality. Unlike other films of its type, it is not exploitative but offers a deeper emotional perspective, which makes it stand out in the subgenre of erotic period drama. With its female lead characters, the film subverts mainstream conceptions of beauty and love, and in the process, proposes a more holistic understanding of what it means to be free – free of constraints personally, artistically, and sexually.
Picture of Beauty is a stunning visual piece of art set to timeless themes that challenge and expand conventional views of culture and intimacy. It lingers long after the final frame, not just for its aesthetics, but for its heart.
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