Movies Aren’t Real Life, But Who by Fire Comes Pretty Close

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It’s understandable if you initially thought Philippe Lesage’s movie “Who by Fire” was the start of a horror film. The movie commences with an extended shot of a car traveling on a secluded, curvy road, accompanied by a low, two-note soundtrack melody. Close-ups of the people inside the vehicle without any sound add a subtle sense of discomfort. The surrounding scenery, a breathtaking yet menacing landscape, further enhances this feeling. Indeed, with its lengthy, ominous transitions, it seems to pay tribute to Stanley Kubrick’s “The Shining“.

Currently showing in New York (with plans to expand soon), Lesage’s captivating film is not a horror movie as you might expect – it’s actually a dramatic piece, with comic elements thrown in at times. The Quebecois director has a knack for building tension and suspense. In Who by Fire, several individuals gather at a forest cabin, leading to a whirlwind of emotional upheaval. Unlike traditional narratives, this film doesn’t follow a typical plot or clearly define its themes and structure. Instead, it leaves viewers to interpret the characters’ motivations and feelings on their own.

The film features characters who the writer-director enjoys having interact in ways that closely resemble extended slices of real life. Dinner discussions can escalate into heated arguments, frequently filmed in single takes. Some dialogue exchanges veer towards awkward humor, yet stop short of Apatow-level intensity. Characters leave for the night and continue on their journeys. Lesage’s scenes often transcend traditional boundaries. With a runtime of 155 minutes, Who by Fire is not brief. However, it portrays the informal speech patterns and uneven pacing of real life so authentically that you forget about time. After watching it at the New York Film Festival last year, if someone had told me the movie was 90 minutes long, I would have agreed; I also might have believed them if they said it was four hours long.

The cabin under discussion is a luxurious one, owned by renowned filmmaker Blake Cadieux (Arieh Worthalter), who has a passion for outdoor activities like bow hunting, fly fishing, and white-water rafting. His visitors include his longtime friend and collaborator Albert Gary (Paul Ahmarani), an intellectually anxious man accompanied by his daughter Aliocha (Aurélia Arandi-Longpré) and son Max (Antoine Marchand Gagnon), along with Max’s friend Jeff (Noah Parker). Blake and Albert, we learn, have been apart for a while, and their past disagreements resurface during their alcohol-infused conversations, as Blake’s boisterous behavior meets with Albert’s defensive talkativeness. In the meantime, Jeff develops feelings for Aliocha, which he initially perceives as romantic interest due to her friendly demeanor towards him; however, his hidden affection conflicts with her reserved nature. The adults are immersed in bitter recollections of their past, while the children appear ready to create some future tension of their own.

As a passionate cinephile, I must admit that describing the unpredictable nature of “Who by Fire” is no easy feat. Unlike many stories, Lesage doesn’t lay out a clear path for us to follow, which only adds to the sense of drift and uncertainty. Yet, this lack of conventional structure never makes the film dull. Instead, it pulses with unexpected twists and tension that keeps you on the edge of your seat. Conversations can dance around hidden offenses, only to erupt in a flood of pettiness. A seemingly innocuous remark can inflict a deep wound, while a bold statement might be dismissed as if it were nothing. In essence, “Who by Fire” is a testament to the power of the unforeseen and the beauty of suspenseful storytelling.

The director focuses his camera on these individuals, observing them closely, occasionally using extended, unchanging shots – much like a scientist in a lab, though without the sterile harshness that implies. Lesage’s method lies somewhere between the styles of John Cassavetes and Michael Haneke, two approaches you might assume would be incongruous. The outcome is precise yet enigmatic, and it also offers an immersive experience. In fact, Who by Fire was filmed partially with Panavision lenses from the 1970s, resulting in captivating and beautiful widescreen imagery featuring warm indoor scenes, rich outdoor landscapes, and sparkling nighttime views.

During that initial scene, before the characters are introduced, there’s a focus on intriguingly close shots of Aliocha and Jeff’s hands, nearly touching. His hand subtly moves towards hers; hers clutches the book more tightly. The camera dwells on these almost undetectable gestures, leaving us to ponder their significance. They might signify nothing, or they could hold profound meaning. The entirety of “Who by Fire ” unfolds in this ambiguous zone, making it so captivating, so unforeseeable. We’re constantly on edge, anticipating something catastrophic. What transpires is simply life itself.

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2025-03-14 23:54