Sara Dosa's Sundance prize-winning film tells the story of French volcanologists Katia and Maurice Krafft using their own extraordinary footage.
Like some of the subjects of those earlier works, Katia and Maurice chased their calling with the intensity of true believers, as well as an undisguised impatience with anyone or anything else that might make demands of their time.
In one of the film’s more harrowing episodes, shot in Indonesia in 1971, Maurice incurs Katia’s wrath by sailing a rubber dinghy into an enormous lake of highly concentrated sulfuric acid. The footage of that adventure is exquisite and unnerving, especially when the camera pulls back to reveal Maurice and a colleague seated in their vulnerable little craft, wreathed in the toxic mists of a lake that could eat them alive.
Despite this, Maurice at one point states: “I am not a filmmaker. I am a wandering volcanologist forced to make films in order to wander.” That he may have been; to fund their many expeditions, he and Katia mined every possible revenue stream, publishing books of their photographs and touring the lecture circuit. But the visions unleashed in “Fire of Love” suggest that they took their art as seriously as they took their science.
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