In the Fire (2023) | Film Review

The war between science and religion has existed for centuries. Critical thought and spirituality do not always run parallel, and when they collide, it can happen in stupendous fashion. This is the cross to bear for Grace (Amber Heard), an alienist summoned to a Spanish plantation in the 1890s to assess Martin (a chilling Lorenzo McGovern Zaini), a young boy with off-colored eyes who is surrounded by tragedy. Is Martin a tad on the spectrum, in need of psychiatric assistance, or is he a vehicle for the Devil, as the locals theorize? In the Fire seeks to explore these questions.

Grace emerges on the scene fueled by her own fire, determined to educate these peasants on the advances of science. Even Martin’s father, Don Marquez (Eduardo Noriega), a rancher and cowboy, has succumbed to the belief that his son is the instrument of evil. Even resulting to keeping Martin locked away from the ire of locals who have been spurred on by the dark warnings of Father Gavira. As Grace attempts to forge a bond with Martin, she observes a few strange occurrences herself, yet she insists there is a scientific explanation for these events.

Written and directed by Conor Allyn (along with co-writers Pascal Borno and Silvio Muraglia), the filmmaker is not breaking new ground with In the Fire, as the backdrop of science vs. religion and “is he or isn’t he evil” has made its way to celluloid a time or two over the years. That does not take away from the layered approach and unique attempt at amplifying the psychology of it all.

Though there are a few narrative missteps (inkblots were not widely used until the 1920s and the romantic sections of the film are decidedly forced), this is an entertaining mystery which plays fair with its audience. The only insight into Martin’s mind is through the eyes of the characters obsessed with him, creating that notion of this could honestly go either way: devil or savant. As Grace studies her client, Allyn’s film continues to demonstrate how deeply fear perpetuates a community, fueling irrational hate and disdain. Anyone who doubts this angst would fester in this way – commoners desperate for anyone to blame for their woes and willing to take despicable action – have failed to pay attention to the world at large these past few years.

Amber Heard gives a surprisingly multifaceted performance as Grace, elevating what could easily dissolve into just another throwaway role in a genre piece. Subtle character tics such as patting her stomach as she attempts to gather her composure or her genuine vulnerability as she shares her fears with Martin, imbues Grace with a heightened sense of dignity and nobility which keeps the audience invested. Often relegated to femme fatales, Heard seizes the opportunity to showcase her talent and carry the film across the finish line.

In the Fire bandies back-and-forth between science and religious doctrine, and ultimately delivers an engrossing thriller which contains some of Amber Heard’s best work.

Listen to our full review of In the Fire on this episode of The Hollywood Outsider podcast: