In this study, French director Celine Sciamma's depiction of a woman in Portrait of a Lady on Fire will be interpreted by focusing on the theme of space. The director tightly connects the portrait he draws of a woman to the relationship she establishes with the space and considers how the masculine mind structures this relationship. Sciamma reinterprets the spatial distinctions of the phenomenological tradition through feminist theories. A mansion is designed where apparently no man lives, and the invisibility of the man is represented by the visibility of the traditional mother figure. The mother, who is initially at the center of the mansion, is in a position to maintain the laws of patriarchy. However, later on, Sciamma, who constructs a situation where the mother is not at the center, creates a transformation in the spatial organization of the mansion through the mother's absence. This transformation allows the patriarchal architectonics to interrogate the dualities of soul -body, subject-object, viewer-seen, and male-female, brought along by philosophical assumptions that serve as a scaffolding to patriarchal architectonics. Sciamma's meta-analysis, which reveals how intertwined and entangled the dualities that support the understanding of space structured by patriarchy, essentially transforms the hierarchical roles that theories of art attribute to the relationship between the creator (painter, director, writer) and the receiver. In this respect, Sciamma, who comes to terms with many problems of philosophy such as spatiality, relationality, temporality, corporeality, memory, gender, and intersubjectivity, closes the gap between the theoretical debates of philosophy and everyday life by revealing that the conception of space is closely linked to the norms that determine the existential and daily life of women contrary to the approaches which consider it as having an abstract structure.
