Leonora Carrington was born in 1917 into a wealthy Roman Catholic family and showed early interest in Lewis Carroll, Celtic mythology, and Irish folklore rather than expected behavior. She was expelled from Catholic schools for bad behavior, discovered painting while studying in Florence, and persuaded her parents to let her study art in London in 1936. In 1937 she met and fell in love with Max Ernst, ran away to Paris, and joined a surrealist circle that included André Breton and Salvador Dalí. Her painting practice developed mystical creatures, giant goddesses, and animal-human hybrids. The film centers on her nonconformist attitude, including her rejection of claims about women as muses, and emphasizes her spiritual themes and exploration of death.
"Born into a wealthy Roman Catholic family in 1917, she was, as a child, far more interested in the writings of Lewis Carroll, and the tales of Celtic mythology and Irish folklore told to her by her Irish nanny, than in behaving as a respectable young girl was expected to."
"Over the years, Carrington was expelled from various Catholic schools for bad behaviour, discovered painting at boarding school in Florence, and finally persuaded her parents to let her study art at Amédée Ozenfant's academy in London in 1936. A year later, the young debutante met and fell in love with the German surrealist Max Ernst, 26 years her senior."
"She ran away to Paris to be with him, soon rubbing shoulders with André Breton, Salvador Dalí et al, and expanding upon her own surrealist painting practice filled with mystical creatures, giant goddesses and animal-human hybrids."
""I really felt connected to Carrington's work. I think it's the sense of the spiritual within it, and also her exploration of death - the closeness between being a woman and mortality - in this very dreamlike setting.""
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