[Tribeca 2024] FIREBRAND -- A Boring Historical Drama Carried by Noteworthy Performances

Review by Sean Boelman

Jude Law and Alicia Vikander in Firebrand. Photo Credit: Larry Horricks.

Brazilian filmmaker Karim Aïnouz’s historical drama Firebrand debuted at the 2023 Cannes Film Festival to a mostly muted reception despite its A-list cast. Unfortunately, it feels like all of the talent involved in the film, both in front of and behind the camera, is wasted in a film that simply is not entertaining or as provocative as it seems to think it is.

Based on the novel Queen’s Gambit (not to be confused with The Queen’s Gambit, which inspired the Netflix chess miniseries), this historical drama is set in the court of King Henry VIII, where his last and only surviving wife finds herself caught amid an unexpected conflict for power.

Audiences will be relieved to learn that Firebrand clocks in right at two hours — even less if you subtract the credits. However, despite this runtime that by all accounts is mercifully brief, especially by the genre’s standard, Aïnouz’s film fails to engage the audience. The conflict feels like the same type of period drama we’ve seen dozens of times before.

Where Aïnouz does bring a lot to the table is its opulent visuals, which are excellent for a period drama. Everything from the costumes to the production design and cinematography works nicely to periodize the film and convince viewers of the regality of the affairs. The film has a slightly dark aesthetic, creating an uncanny, unsettling juxtaposition. It’s disappointing to see the potentially atmospheric effects of this choice go largely squandered.

Jude Law and Alicia Vikander in Firebrand. Photo Credit: Larry Horricks.

As is too often the case with historical dramas like this, Firebrand is too interested in subverting expectations to give us a character to genuinely care about. Henrietta and Jessica Ashworth’s script wants us to see Kateryn Parr differently than we’ve typically seen Henry VIII’s wives in the past. However, the script doesn’t truly engage viewers in the cunning of this court drama.

Alicia Vikander gives what might be one of her more impressive outings here, not just because of the quality of her performance but also because of how much she elevates the material. She adds a lot of allure and emotional complexity to a character that the film desperately wants to be ambiguous but absolutely is not.

Jude Law’s performance in the supporting role is much less subtle. Credit where it’s due, Law does give a pretty transformative turn. It’s not chameleonic in a visual sense, but he feels like he’s giving a very different performance than he typically does. That being said, even though Law transforms into Henry VIII, he doesn’t really transform *as* Henry VIII. The one note he offers is savagery, and while he does it well, it’s not especially captivating. 

Firebrand had a lot of potential, from a compelling story to a strong cast and a talented director. While some of these elements do deliver — mainly Alicia Vikander and the crafts of the film — others fall flat. The result is an experience that feels far more boring than any film about Henry VIII (or, more accurately, his wife) should be. 

Firebrand is screening at the 2024 Tribeca Festival, which runs June 5-16 in New York City.

Rating: 2/5