Afire (Christian Petzold)

Fire walk with me

Amir Siadat

The setting appears initially reminiscent of Eric Rohmer's world, with its vacation spot by the beach, a forest-bordered residence, and the intricate dynamics between friends and couples. However, the encroaching fire, blazing at a distance from the coastal scene, gradually disrupts the serene balance of this familiar universe. It becomes evident that the flames are not merely external to the characters' environment but rather ignite from within the narrative of Leon, emerging from the depths of his wounded psyche. From the onset, as Leon experiences hallucinations within the forest, the auditory backdrop subtly reflects his fears. Subsequently, the audible lovemaking from the adjoining room, disrupting Leon's slumber, subtly hints at the Oedipal origins underpinning his apprehensions. Despite his persistent complaints about needing silence for work, it becomes apparent that his underlying "dilemma" is far more complex. He keeps running away from the people around him under the pretense of work, but in private, all he thinks about is the their relationships. The fact that the others, in stark contrast to him, appear at ease with any situation, fostering an ability to relish their companionship, eats his soul and deeply troubles him. Like any snob and narcissist, he dismisses the literary and artistic abilities of those around him, while simultaneously, he yearns for their validation and endorsement. He perceives himself as the focal point of the universe and sees others as conspirators! His publisher, who has actually came to review his book disregards him and instead gravitates toward Nadja, praising Felix's photography. As spectators viewing the narrative through Leon's prism of suspicion and jealousy, we find ourselves torn between affirming his perspective and acknowledging the possibility that his perceptions are colored by his own biases. To validate his position, he adopts the role of the aggrieved, painting others as conspirators in his narrative. He skillfully involves us in his narrative, fostering a degree of empathy for his viewpoints. He has made us think that the chatter of those who are standing a little further away is a conspiracy or a judgment against him. In reality, his only recourse is to mock the "conspirators" with sarcasm, yet as the author of his narrative, he channels his repressed fury and desires into the inferno of retribution, incinerating his adversaries within its blaze. He orchestrates the demise of one rival, dispatches another to the hospital, and assumes possession of his beloved as he pleases. Afire departs from Rohmer's cinematic climate, but the “fire” take it away from this leading it towards the "water"s of Petzold's previous film, Undine. I am curious where this trajectory will lead in its next phase.