“Fire” begins in water: a wide, rippling expanse of Mediterranean blue under a cloudless sky, displaced and disrupted by two whirling human bodies. Sara (Juliette Binoche) and Jean (Vin…
) tussle in the otherwise empty ocean as though they’ve just discovered weightlessness, while Eric Gautier’s camera lingers on skin touching skin under the shimmer. The lovers are, we guess, on vacation, though in this immediately seductive opening scene, they seem suspended in another ecstatic reality altogether.’ frank, hot-blooded relationship drama; most relationships only have select moments of such removed bliss, after all.
Once back in steel-gray urban surroundings — signaled by a railway tracking shot that prompts immediate memories of the comparably intimate, domestic “35 Shots of Rum” — Sara and Jean’s relationship begins to take on a shape and baggage distinct from that idyllic introduction. Denis and Angot’s script is slow and sparing with its details, however, making us piece together the couple’s history as much from stray gestures and gazes as from anything we are expressly told.
Sara, too, is a parent, though she appears to dwell more on the embers of her failed marriage to Jean’s former friend and business partner François , from whom both have long been estranged. We’re left to surmise how the trio’s relationship broke down and rearranged itself, though the longer we spend with them, the clearer it becomes that Sara and Jean’s happiness is a fragile and selective construct, functioning only in the present tense.
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