Tribeca 2024: Firebrand Review

This will be one of several reviews from this year’s Tribeca film Festival. To follow our coverage, click here.

Brazilian filmmaker Karim Aïnouz is well-known for exploiting themes like exodus, sex, and identity. They can be seen in such films as 2002’s Madame Satã, 2005’s Céu de Suely, and 2009’s Viajo Porque Preciso, Volto Porque te Amo. The narrative focus of transition in psychological and physical manners added to a melodrama inspiration reminiscent of Douglas Sirk and Rainer Werner Fassbinder’s works. Those elements are present in his latest film, Firebrand.

Firebrand first premiered at last year’s Cannes Film Festival. It tells the story of Katherine Parr (Vikander), the sixth wife of England’s majesty Henry VIII (Law) who poisoned, accused of heresy, and burned his five previous wives. Playing a central role in the Anglican church, Henry is the intermediary between God and the people. He holds the most vital role in the faith. At the same time, his country faced an in crisis of its own. As rebellious members of the clergy exposed the population to their undue influence, Katherine faced her own hurdles, not birthing an heir to the throne and her past with said members. There is a timely cut in the narrative, as Jessica & Henrietta Ashworth’s script recounts the last moments of the Henry VIII’s life. They do so through a story full of betrayal and intrigue within the royal family, contrasting Henry’s tyranny with the more progressively minded Katherine.

Queen Parr was the first English woman to publish a book under her name, Prayers of Meditation. Many have interpreted her attitudes as confronting Henry’s authority. The Bishop investigated her, accusing her of heresy, which may have led her to a bonfire, just like Henry’s previous wives. Bringing plenty of fascinating ideas to the table, the film’s underdeveloped plot found itself loosen up periodically. That being said, Aïnouz puts forth an admirable effort. However, his first English language film does not translate to a British production as well as his Brazilian productions. Even his frequent partners, like cinematographer Hélène Louvart, loses elements of her filmography as she switches from film to digital. The result is a visually gorgeous film, but is also dark in places. Meanwhile, its make-up and costume design are stunning, while the production design adds depth to the world’s construction.

In terms of performances, Vikander and Law are outstanding. Vikander captures the inner power of a woman, but her submissive role diminishes it, while Law creates an oppressive presence, down to the way he stared at the camera. Either way, the film was ultimately at its best when it was the both of them together.

In the end, while Firebrand is decently effective, a flawed script construction affects the melodrama and exodus elements. Aïnouz thrives to impress even without the power he would normally have in his Brazilian cinema. Nevertheless, Alicia Vikander and Jude Law are exceptional.

still courtesy of Roadside Attractions and Vertical Entertainment

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Pedro Lima

Brazilian film writer. He is also a producer and executive producer for Zariah Filmes. Member of the International Film Society Critics Association (IFSCA), International Documentary Association (IDA), and Gotham and Media Film Institute.