Film Review: ‘Who by Fire’ (Comme le feu) dir. Philippe Lesage
Rating: ★★★★☆
Philippe Lesage, in his latest film “Who by Fire” (Comme le feu), gathers his characters in a secluded house, forming a microcosm of society, and engages in a sharp critique of both the society and the behaviors of its inhabitants. With psychological undercurrents coursing through the characters’ veins, Lesage dissects them. This 161-minute journey navigates through the tumultuous relationships of the characters, urging viewers to empathize with them and vehemently question the societal norms, constraints, and expectations. Lesage hopes that his characters can liberate themselves from the societal constraints that bind them.
In “Who by Fire” (Comme le feu), Jeff is invited by his friend Max to travel deep in the woods and stay at the isolated estate of acclaimed director Blake Cadieux. He has high expectations for the trip: Cadieux is an artist he greatly admires – plus Aliocha, Max’s older sister, with whom he is secretly in love, is also coming. The untouched and hostile forest and the director’s huge cabin become the territory where the youthful search for ideals and freedom confronts the wounded egos of the adults.
The film’s deliberate use of long shots subtly signals to the audience that it demands patience and keen observation. Take, for instance, the opening scene in the car: a lingering shot begins at Jeff’s hand and gradually pans up to reveal the face of a teenage girl, Aliocha. This careful composition not only captures Jeff’s longing for Aliocha but also sets the tone for the film’s meticulous exploration of relationships and emotions.
The characters converging at Blake’s house in the film represent the educated and elitist echelons of society. However, as the narrative unfolds, it becomes evident that beneath their veneer lies a profound dysfunctionality. Themes of humiliation and rejection permeate the relationships among the characters, serving as poignant reflections of the broader malaise within society.
Jeff grapples with inner insecurity, struggling to embody the qualities of maturity expected of a man. His attempts to seduce Aliocha result in rejection, leaving him feeling profoundly humiliated. This humiliation drives him to retreat into the wilderness, symbolizing his internal turmoil and quest for identity.
The table around which the characters gather serves as both a negotiation table and a battleground, where verbal sparring and emotional confrontations take place. Humiliation permeates the dialogue and interactions, echoing throughout the film as a recurring thematic motif. One character’s assertion at the table—”When a woman beats a man it is humiliation, when a man beats a woman it’s victory”—underscores the intertwined notions of victory and humiliation. As the narrative unfolds and the characters navigate their relationships and shared challenges, the language of humiliation emerges as a dominant mode of communication among them, reflecting the complexities of human interaction.
Another central theme of the film revolves around the dynamics of power and its intrinsic connection to humiliation. All characters in the film grapple with a sense of victimhood, striving to assert dominance and superiority. The motifs of hunter and prey are vividly portrayed, exemplified by Aliocha’s role as the hunted, pursued by Blake in a symbolic display of dominance. In contrast, Jeff lacks the assertiveness of a hunter; his clandestine observation of Blake photographing Aliocha reveals his simmering feelings of inadequacy and defeat. The discovery of a naked photo of Aliocha prompts Jeff to engage in an act of self-gratification, symbolizing his yearning for something unattainable and his deep-seated feelings of inadequacy.
In Philippe Lesage’s film, the spotlight shines brightly on the younger generation, particularly Aliocha and Jeff, who emerge as the central figures in the narrative. Examining the power dynamics in the film, one can’t overlook the intergenerational clash between parents and their offspring. The older generation wields the weapon of “humiliation” in their interactions, setting a challenging precedent for the younger generation to navigate. However, Aliocha refuses to conform to this language of humiliation. Jeff, grappling with inner turmoil and a fragile sense of self, attempts to exploit Blake’s actions to his advantage by informing Aliocha’s father, Albert. Yet, when Blake publicly humiliates Albert, Aliocha, in a powerful display of loyalty to her father’s values, retaliates by pouring her wine over Blake’s face. This act of defiance signifies Aliocha’s refusal to tolerate her father’s humiliation and her unwavering allegiance to him. Consequently, she rejects Blake’s advances and ejects him from her room, firmly aligning herself with her father and his principles, thereby refusing to betray him.
Jeff and Aliocha’s journeys are deeply intertwined with the theme of maturity. While Jeff struggles to embrace his masculinity, Aliocha undergoes a transformative journey towards embracing her femininity. In pivotal moments like Eddie’s drowning and Aliocha’s haunting nightmare, we witness Aliocha’s attempts to confront mortality and rescue Jeff from the figurative flames of humiliation. However, as Aliocha comes to terms with Jeff’s symbolic demise, it becomes clear that she alone emerges from the toxic confines of their community.
The film’s final scene, with Aliocha reading Emily Dickinson’s “They Shut Me Up In Prose,” encapsulates this sense of individual liberation amidst societal oppression. Dickinson’s poem serves as a poignant reflection on societal constraints, likening them to a suffocating prison. Similarly, the film’s conclusion implies a coercive imposition of societal norms, suggesting a discordance with the characters’ journeys.
