Quick Thoughts: In the Fire (2023)
Following the depraved circus that is the Depp v. Heard trial and the mortifying responses to said trial, including a grossly misogynistic smear campaign, quite a fuss was made on social media about Amber Heard starring — in what was said to be her final film before parting ways with the Hollywood system (which, well, one can hardly blame her) — in Conor Allyn’s psychological thriller In the Fire, with trades such as Variety, in all of their infinite wisdom, describing the plot as one where Heard’s character is sent to Colombia to accurately diagnose a young boy, whom the villagers believe is possessed by supernatural forces or even Satan reincarnated, as autistic and “heal” him.
Needless to say, a white savior narrative advocating for the demonization — and “curing” — of people on the spectrum sounds like a prime contender for the absolute worst film ever conceived by humans. However, the end result is really not that kind of picture at all. First of all, while the boy does demonstrate some traits that are common in people with autism, Heard’s character — a doctor — diagnoses him as having savant syndrome, not autism; they aren’t one and the same. Second of all, while the climax does reveal him to have powerful abilities, his condition isn’t demonized nor is he ever revealed to be some kind of malignant inhuman entity, and he’s the one to save Heard in the end, so a white savior narrative this is not.
As for my actual thoughts, while it does have problems in regards to clunky, repetitive dialogue and especially in regards to awkward editing choices that don’t let certain character moments or dramatic beats soak in long enough, I have to admit, I quite liked this film. I’ve always found Heard to be a talented actor, whether it be in grungy genre films like All the Boys Love Mandy Lane or Drive Angry or in bombastic blockbusters like Aquaman, and her work here is certainly one of her more unique performances.
At times, it does feel as though she’s struggling to get into the specific rhythm Allyn’s film is operating on, but for the most part, she pulls it off very smoothly. She imbues her character, Grace, with a great deal of personality and a much-needed sense of humanity that makes her engaging to watch. The way she plays off of supporting actors like Eduardo Noriega, Lorenzo McGovern Zaini, and Luca Calvani is also enjoyable. While the story itself is ultimately a standard thriller, it’s nonetheless compelling to watch, especially in how it explores its central theme of the relationship between science and religion, whether they truly can intersect or if they’re mutually incompatible.
Seeing Heard’s woman of reason struggle and become more vulnerable as she constantly has to put up with people who use their faith as an excuse to pass judgment and express prejudice without consequences made for tense viewing, further complemented by Teho Teardo’s moody musical score and especially by cinematographers Simone Moglie and Matt Bendo’s pristine high-contrast lighting and wonderful use of colors, crafting an aesthetic that’s as warm and inviting as it is appropriately bleak and crushing. It’s not a perfect film by any means, but if this is how Heard’s career comes to an end, then I’m glad she went out on a good note.
