Dir: Thor Klein, Lena Vurma | Dirs: Thor Klein, Lena Vurma | Cast: Olivia Vinall, Alexander Scheer, Ryan Gage, Cassandra Ciangherotti | Uk Biopic 103’
Leonora in the Morning Light looks at the life of one of surrealism’s most enigmatic figures, but the result is a strangely muted portrait of an artist whose story demands far more intensity.
Adapted from Elena Poniatowska’s acclaimed novel, the film traces Leonora Carrington’s journey from rebellious young woman in 1930s France to pioneering artist in Mexico. The narrative hits all the expected milestones: her immersion in avant-garde circles, her tumultuous relationship with Max Ernst, and her eventual escape from war-torn Europe into a new creative life abroad. On paper, it’s rich material. On screen, it rarely comes alive.
Sadly the film never really gets under Carrington’s skin. Her inner world—so vital to understanding both her art and her struggles—is sketched rather than deeply explored. Key moments, including her psychological breakdown and artistic awakening, feel rushed or underdeveloped, leaving the audience observing rather than experiencing her transformation.
Visually, there are fleeting hints of the surreal imagination that defined Carrington’s work, but these moments are too sparse to leave a lasting impression. Instead of fully embracing the dreamlike, symbolic power of Carrington’s art, the film settles into a conventional biopic structure that feels at odds with its subject.
Performances are committed, particularly in portraying the volatile dynamic between Leonora and Ernst, yet even these can’t fully compensate for a script that lacks urgency and depth. The supporting cast, including figures from the surrealist movement, appear more as historical markers than fully fleshed out characters.
It all looks very lovely with its rich depiction of the era but ultimately Leonora in the Morning Light feels like a missed opportunity. It tells the story of a remarkable artist who defied convention and carved out a singular voice, but does so in a way that is surprisingly restrained. For a life defined by imagination, rebellion, and transformation, the film remains frustratingly mundane.
UK and IRISH cinemas from 29 May 2026