The unusual bond between a young widow and her late husband's best friend is the focus of "Things We Lost in the Fire" (DreamWorks), a film which moves dexterously from moments of clever humor to painfully deep emotion. The result is captivating.

In the immediate aftermath of the senseless murder of her husband, Brian (David Duchovny), Audrey Burke (Halle Berry) must quickly learn to control her grief if she is to care for her young son, Dory (Micah Berry), and her daughter, Harper (Alexis Llewellyn). She turns for help to Brian's lifelong friend, Jerry Sunborne (Benicio Del Toro), a charismatic, drug-addicted ex-lawyer now living in a crack house.

Though she once resented Jerry's presence in her husband's life, Audrey now begins to see why Brian maintained their friendship, as Jerry is quietly able to exert a positive influence on her shattered family. As their relationship deepens, she invites him to move into a room attached to her garage.

Audrey's brother, Neal (Omar Benson Miller), recognizes Jerry's contribution and, in turn, helps Jerry in his ongoing struggle against addiction. (In the course of the film, he'll fall off the wagon with results that are painful to watch.) Also responding generously to Jerry's empathetic and nurturing approach is Audrey's neighbor, Howard Glassman (John Carroll Lynch).

When Jerry strikes up a friendship, and possible romance, with fellow addict Kelly (Alison Lohman) at a Narcotics Anonymous meeting, the nature of his budding attachment to the still-grieving Audrey is thrown into question. Is she genuinely in love with Jerry or is she merely turning to him as a handy replacement for Brian?

Danish director Susanne Bier's English-language debut is a fascinating study in the psychology of both grief and addiction. It features striking cinematography in which detailed close-ups of the cast beautifully mirror the script's intimacy.

Del Toro, on whom all depends, is especially memorable. He handles the film's comic demands as masterfully as he does the drama. Berry, meanwhile, skillfully delineates the varied emotions brought on by loss.

The pervasive use of the f-word and graphic portrayal of the withdrawal process restrict the film's suitability to adults.

The film contains partial rear nudity, nongraphic sexual activity, much rough and some crude language, one use of profanity and drug use. The USCCB Office for Film & Broadcasting classification is A-III -- adults. The Motion Picture Association of America rating is R -- restricted. Under 17 requires accompanying parent or adult guardian.

Movies have been evaluated by the U.S. Conference of Catholic Bishop's Office for Film and Broadcasting according to artistic merit and moral suitability. The reviews include the USCCB rating, the Motion Picture Association of America rating, and a brief synopsis of the movie.

The classifications are as follows:

• A-I -- general patronage;
• A-II -- adults and adolescents;
• A-III -- adults;
• A-IV**
• L -- limited adult audience, films whose problematic content many adults would find troubling. L replaces the previous classification, A-IV.
• O -- morally offensive.