From Cannes: ‘Firebrand’ is a Character-Driven Tour-de-Force

A tension-filled court intrigue about Queen Katherine Parr, the sixth and last wife of English King Henry VIII, “Firebrand” is a gorgeously costumed mediation on power and tyranny. Beginning with Katherine (Alicia Vikander) as regent while Henry (Jude Law) is away at war, the film follows Katherine as she tries to positively impact a Tudor England riddled with plague and religious instability, while navigating her own relationship with an ailing husband known for disposing of unwanted wives.

Though the title cards make clear “Firebrand” does not intend to be a faithful representation of historical events (a much needed disclaimer, as it isn’t accurate at all), the lush costuming and rich set pieces are immersive. The costumes are beautiful and historically accurate, immediately identifying all of the characters and their status, as well as being wonderful to look at. Katherine’s gorgeous French hoods that lie flat and have a chin strap in particular deserve recognition. The extravagant silhouettes, rich materials and colors are reminiscent of paintings from the era, making all of the scenes of the bustling court a visual marvel.

However, Karim Aïnouz’s direction never tries to spoon feed this excellence to the viewer, instead allowing it to come through in moments of connection between characters. Featuring artful close-ups to acclimate the viewer to a character’s perspective, Aïnouz punctuates these with wide shots where characters desperately try to control their physical responses to news in the closely observed court (in addition to showing off the set). Scenes of overwhelming, chaotic spectacles at court are juxtaposed with quiet, meditative moments. These, coupled with prolonged moments between characters holding onto one another or trying to pass messages through nothing but their expressions, create an striking intimacy among the main cast whose goals and desires are aligned, and a clear lack of it between others.

“Firebrand” particularly benefits from its small cast, as no character is forgotten in the whirlwind. Even Katherine’s ladies-in-waiting, who stand just in the shot while Vikander performs some impressive acting for most of the film, were brought into the center of the plot by its end. Considering the large number of players who were historically influential, “Firebrand” is decisive in its choices about who to include, not just making the story feel richly populated, but ensuring that every scheming scene pays off.

King Henry’s neglected children, Princess Mary (Patsy Ferran), Princess Elizabeth (Junia Rees), and Prince Edward (Patrick Buckley), who all fear for their positions with an unstable father, are stand-outs. In addition to deepening the tension on screen, as their dismay, fear or hope in response to their father’s acting out is emotionally affecting, they are living reminders of the dynasty at stake beyond Henry himself. All three go on to become monarchs of England, and all of their limited screen time gloriously hints at future historical events.

Though short, Erin Doherty’s catalytic performance as the impassioned preacher Anne is chillingly effective. The contrast between her desperate intimacy with Katherine and her cold manner aptly situates the central conflict between Katherine’s heart and principles and the dangerous state of England and Henry’s court that require compliance to ensure her survival. This adroit opening points to the film’s emphasis on Katherine’s personal values at war with the visions of powerful men, and her personal relationships at stake.

Despite becoming caricaturish in some moments, brings a powerful gravitas to the mercurial Henry VIII. Though his favorite method of intimidation disappointingly seems to be putting his fingers in someone’s mouth, for it happens one too many times, his illness and unpredictability, combined with his complete power to kill anyone for any reason, make him a fearsome villain. Moreover, his use of the royal “we” throughout is wonderfully sinister.

As Henry interrogates Katherine or makes worrisome demands at court, the film’s tension rises to a fever pitch. The swelling minimalist score helps maintain these high stakes as the characters creatively battle for control of court, which keeps the muted plot sparkling. Throughout the film, the tension is well-controlled, drawing tight but still providing moments of relief that make the danger more gripping as Aïnouz understands exactly when to let the scenes breathe.

As a relentless battle for the high ground, in every sense of the phrase, “Firebrand” takes inspiration from an often forgotten historical queen to depict a breathtaking struggle for control.

—Staff writer Millie Mae Healy can be reached at milliemae.healy@thecrimson.com.