Fire, the fourth feature film by director Denis Villeneuve tells the catharsis of two children after the death of their mother. They receive from the hands of notary two letters to give to a father they thought was dead and a brother they never knew existed. Despite the misgivings of his brother, Jean (Melissa Desormeaux-Poulin ) is undertaking a trip to the Middle East to fulfill the last wishes of his mother. The history of this last it gradually reassemble the puzzle plunge into the horror that she was far from suspecting and making it happen in the light is its own genesis and her brother that she will expose the raw flesh of the past.
From the first sequence of the film, carried by the song 'You and Whose Army ' of Radiohead's camera discovers Denis Villeneuve idling a room where children are frightened by warriors shaved, the blue glow that exists in the room we understand they are promised to be enrolled in a fight they know only the thud of bombs. One of these children is the son of Nawal Marwan ( Lubna Azabal), a young Christian fell in love with a Muslim man killed before his eyes and whose child has been snatched at birth because she had shamed on the family. The film will alternate these lyrical scenes in the heart of a bias mixed, combining a more realistic capture to tell this to Jane and her brother Simon. The alternation of moods is consistent with the wishes of a director who has set his story in a geographic area indefinitely. Although be done repeatedly referring to a period between 60 and 70 years, the past Nawal reconstructed over an investigation that involved a desire to give only limited references to the viewer. The conflict we are talking about religious groups that face them and whose shares s'enchâssant games like retaliation, not temporality. It is undermining the Middle East for decades, here and nobody is accusing anyone tried. It is a story reinvented so that it becomes universal.
This concern with the dialectic of universality of speech start of construction in the film by Denis Villeneuve is also behind the constant attention of the viewer look at the image of two children, a track of reasoning that is often apparent in a line as temporal and geographical. Unfortunately, it will also be a vector of disillusionment, that of waiting until the unspeakable happen, since the force of beating around the bush, we finally understand the substance and by revealing it gradually erodes the value first aroused by the film. The infallible demonstration of Denis Villeneuve believes that human beings because they hate the dump were broken at the root, and not corrupt because they are inherently evil nature embraces the idealism of Rousseau . It gives the film a scope humanist educate audiences but skeptical supporters Hobbes or Freud who had defended the principle of the need for aggression.
This does not remove much of the linearity of a narrative that unfolds in the manner of a slow and sadistic murder by stabbing successive destroy the veil of illusion. Puzzle itself, raises Fire heart when his face takes shape. Following the path of Jeanne, we relive the past of his mother, a woman whose courage, commitment to military had reason to silence her own demons. It is revealing what has long been suspected because of this way of focusing the story on its resolution, which includes the final thought of Villeneuve: every act involved in a prolonged cycle of hate that which exposes hoping to wash away the wounds deeper. The idea that there is a form of redemption, as suggested by the last shot of the film, is also ideal incongruous here.
Fire will still come, and not always for the right reasons, not to leave us no escape. The path taken by children Marwal we do with them, in the midst of these deserts of parentage which one carries the stigma. Adapted from the play by Wajdi Mouawad, Fire captures the throat. The interpretation of broken Lubna Azabal gives it a strength that would be beyond the real regret that we can really lyrical and relevant insights that appear only rarely in the staging had been abandoned in profit of the reconstruction of a Mosaic purely mathematical and sensationalist.
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