Leonora in the Morning Light review – pioneering British artist who fled convention for the surrealists

From Paris to Mexico, Leonora Carrington’s extraordinary life is retold with intelligence and restraint, though not quite enough imagination

At the age of 20, debutante Leonora Carrington ran away from London to be an artist in Paris, living with the surrealist Max Ernst, who was married and more than twice her age. But you won’t notice the uncomfortable age gap in this biopic, in which Carrington is played by Olivia Vinall, who is in her late 30s and portrays the artist for a decade or so, from Paris until Carrington settled in Mexico in the 1940s. Vinall’s performance is pleasingly spiky, fierce and uncompromising, fit for a woman who did not seek anyone’s approval – and does some heavy lifting in this otherwise tepid film.

It’s adapted from a biographical novel by Elena Poniatowska. We meet Carrington arriving in Paris, where she discovers that the surrealists’ circle is another male-dominated world, with its own objectionable attitudes to women. Carrington, though, gives short shrift to men such as André Breton and Salvador Dalí, drivelling on about woman as the divine muse to be worshipped. The dialogue clunks along unconvincingly, such as one line spoken to Ernst (Alexander Scheer): “I don’t want to be your wife. I want to be your lover.” The pair move to southern France, where they seem to work productively – portrayed in slightly dull scenes – until the outbreak of the second world war in 1939, when Ernst, a German citizen, is imprisoned.