Cold As A Viscous Flame.
Villeneuve is a gentleman when it comes to respect the genre he plays in. In fact, he respects the whole system, even the hefty hectic part of the film. If his film ticks for more than two hours, he definitely has edited at least half an hour from it. He isn’t ashamed, afraid or lazy on going deep in to the tunnels and get his hands dirty. He foliates the darker side of the human as a compelling arc for the storytelling. Take the imprisoned part of Nawal’s (Lubna Azabal) life, even something so informative and dry part of the script as such, Denis Villeneuve, the director, has crafted out a nail biting drama where the emotion is installed in it by introducing a song in it.
Now, this song isn’t something he just throws out randomly, he first teases us by formulating a title to that very act as “The Woman Who Sings”, so incredible is that name, that every time it is referenced for advancing the storyline, there is a pathos in its vocab that he armors in for this long, long battle. There are plenty of scenarios in the film and often the filmmaker loses the tone of the film and there is an uneven pace that itches the viewers, but Villeneuve’s experience is mostly the saviour of it.
While the rest of it, is left upon the actors like Lubna and Melissa, where despite of going back and forth in timeline there is an equal force resisting the dogmatic postulates of the world. There is a poetic bridge connecting these parallel worlds and the answer is the performance so magnificent that it deconstructs all the semantics of the script. Incendies is the fire that will not spark the charge but will burn the whole forest down unapologetically.