Each one of us possessed a different childhood, but often we find that, regardless of background or circumstance, some qualities are nearly universal. No matter where you go in the world or how far you look into the past, a sense of childlike wonder and curiosity has always been a part of the process of growing up. Those seemingly endless days of exploring a world that seemed so much bigger than it was are carried with us well into our adulthood, transitioning from moments of pleasure to melancholic memories to which we all wish we could return in some way or another. This may be a broad generalisation (and be favouring those who had a more positive childhood), but it is still the foundation for many essential texts on the concept of growing up and watching the world change in front of our eyes – and it is also the basis for Riddle of Fire, in which Weston Razooli (making his astonishing directorial debut) goes in search of some particularly elusive qualities relating to the simple act of navigating our environment when we are too young to understand its dangers and too foolish to realize these joyful, reckless moments cannot last forever. The film follows a trio of children who are intent on making the absolute most of every moment of their summer, which results in efforts to steal a gaming console that they all desperately wanted. However, they discover that there are a few obstacles that stand in their way, and to overcome them, they are sent on a quest, which in turn results in some unexpected challenges that none of them quite know how to navigate, using their resourcefulness and undeniable grit to get out of some precarious situations. An incredibly innovative and genuinely captivating experience that establishes Razooli as an essential voice in contemporary filmmaking, Riddle of Fire is an absolute riot, a charming and delicately crafted comedy with a sincere heart and soul that informs absolutely every decision and makes it an astonishing and dazzling work of contemporary genre filmmaking.

The concept of the coming-of-age narrative is certainly nothing new, having been at the foundation of several works of art in every possible medium. However, audiences seem to flock to these stories, since there is something special about the relationship they form with these characters and their journeys through life. Whether it’s a momentary glimpse into a past we remember from our childhoods, or simply a chance to witness something engaging and usually very comforting and endearing, which is a frequent quality associated with these stories. Riddle of Fire joins a long lineage of films based around the process of growing up, and it’s a wholeheartedly delightful affair, particularly in how it arranges its ideas in such a way that we are consistently invested in the stories of these characters. Razooli is not someone who has ever felt particularly enamoured with the idea of social realism – while the grittier and more realistic stories of childhood perhaps carry some additional resonance and come across as being more authentic, they can often be quite limited in their scope, bound by the efforts to maintain some semblance of logic when in reality the most entertaining and memorable works are those that step away from the status quo and go in their unique direction. This is a perfect summary of Riddle of Fire, a film that is driven less by logic and more by its atmosphere, which gives it a very particular tone that the director consistently draws our attention towards. Constructed as contemporary fantasy, the film employs many fascinating techniques in how it tells the story – we have a valiant group of heroic knights that ride their steeds (which turn out to be motorcycles), being accompanied by a particularly mischievous pixie-like companion and going against sinister villains that may dabble in witchcraft, all taking place in the stunning landscapes of Wyoming, which serve the same purpose as the sprawling kingdoms we found between the covers of cherished childhood fairytales. Razooli is not the first person to use this kind of imagery and structure in a film, but he is one of the most purely successful, bringing to the forefront many bespoke qualities that evoke some strong, poignant emotions that sustain the entire film.

In much the same way as it is defined by its concept, Riddle of Fire employs quite a daring approach to bringing the story to life on screen. Razooli has stated that he was heavily inspired by the live-action adventure films produced by the Walt Disney Company in the 1970s, which were often some of the most bold and daring works of their era, and the first encounter many of us had with certain themes, usually since they were slightly more mature in both thematic content and their execution. The director brings many of these ideas to this film, which is heavily influenced by their aesthetic, which is the hook for many viewers, since we’re promised a throwback to a very particular era in family-oriented filmmaking, albeit one where the process of telling these stories was far simpler and more engaging than it is today. Filmed using the same technology that was most prominent in the 1970s, Riddle of Fire is styled to evoke those films, having a gritty warmth that carries the story perfectly. Had there not been occasional uses of modern technology such as contemporary televisions and cellphones, you could be forgiven for thinking that this film was some underseen gem plucked out of obscurity after being found on a discarded VHS, which seems to be the very approach that Razooli was taking when putting this film together. It has vigour and elegance that you could imagine could contradict the concept – which is essentially a story of a trio of working-class country urchins going on a series of misadventures – but the robust and well-crafted ideas that inform the film, coupled with the sincere effort put into bringing it to life, means that this is certainly far from the case, as the visual component itself is work every moment of our time. It’s superbly well-directed, and the cinematography by Jake Mitchell, as well as the work done by the production design team, add so much nuance and detail to a film that defines itself by its inspirations but is not a servant to its reverence, blazing its unique path in such a way that it ultimately only makes the experience more invigorating and compelling.

As a relative unknown making his debut, Razooli did not have much access to highly recognizable actors, outside of a couple that occupy smaller supporting roles. However, this is analogous with the more gritty nature of Riddle of Fire, which prioritises authenticity in terms of how it develops its characters, crafting them as extremely realistic people who find themselves in absurd situations, which is far more interesting than compelling characters shoehorned into dull stories. The central trio consist of Phoebe Ferro, Skyler Peters and Charlie Stover, all of whom are making their acting debut, although you would struggle to comprehend this based on how comfortable they are on screen. They are all exceptional discoveries that feel earnest and well-defined, much more than we would anticipate based on a cursory glance or our expectations of child actors, who are not always as endearing on screen as we would think. The film is built around their wonderful performances, and it’s impossible to not be entirely enamoured with this trio, who are essentially just a group of ordinary children who simply manage to command the screen, leaving a profound impression in ways we may not have expected. They’re joined by Lio Tipton and Charles Halfordas the film’s main villains, who bring a sense of not only gravitas, but a slightly unnerving sense of despair to the film, playing into the humourous scenarios, but never making it seem as if they find it to be trivial, instead committing on the same level as their younger co-stars, which only makes the film feel richer and more compelling. The reason Riddle of Fire is so thoroughly engaging is based on the incredible work done to bring these characters to life – they’re well-developed, but never one-dimensional, and everyone involved is wholeheartedly dedicated to the bizarre premise, which proves to be far more enticing than just about anything else we could have expected from this material, which only makes it a more thrilling experience.

The concept of style versus substance has been ongoing for decades, and while it is quite a trivial argument that often invalidates the merits of both, some works prove it is entirely possible to exemplify each of these ideas brilliantly, particularly in such a way that they work together beautifully and come together to create a cohesive, daring work of art. Riddle of Fire seems like quite a small film from a distance – the story is quite simple and not all that revolutionary, and the filmmaking itself is more of a novelty than a signal of immense innovation. Yet, the further we venture inwards, the more we begin to see the exceptional qualities that define this film and make it a far more complex piece of filmmaking than we could have possibly anticipated – and there’s nothing quite as delightful as a film proving our middling expectations entirely wrong. It is impossible to deny the interminable charm of this film, which is a truly unexpected delight – upbeat but filled with heartfulness that indicates the melancholic realities of life are not too far out of view, with the film being as much about the joy of reckless youth as it is cherishing these small moments while they are still available to you, the film carries itself with such incredible tact and elegance, its impossible to not be entirely compelled by its numerous bespoke layers, each one beautifully captivating and thoroughly entertaining. Razooli has an extraordinary future ahead of him if this film is any indication, with his directorial flair and extraordinary prowess as a filmmaker leading to so many wonderful excursions into the minds of these characters, allowing us a brief moment to once again see the world through innocent eyes, while still being entirely entertained in the process.