Aftersun

Aftersun is a film that I wasn't sure I understood when the credits started rolling. Then, as I sat and thought about everything I had seen, I came to believe more and more that it's kind of genius.

What the movie lacks in overt substantive plot it more than makes up for in authenticity and subtle placement of character-building images and dialogue. In the moment, these often feel like tangents and the overall picture isn't clear.

While it can make for a frustrating first viewing, the clarity that comes with the film's final shot suddenly puts everything into perspective and I felt an overwhelming flood of emotion for the two central characters.

Suffering happen more often than not in silence, and it's the cumulative of this film's many quiet moments that drive home one of the most effective, nuanced messages of compassion that I've seen all year.

This is a masterpiece of subtlety, arguably slightly to a fault, but it's refreshing to see it in the age of "hammer over the head" messaging in movies that we're currently living in.

I almost never watch films twice but 'Aftersun' was a rare case where I absolutely had to. I don't think this film can be fully appreciated on first watch. I saw someone suggest that after you watch it your mind will go back to little moments and re-evaluate their significance, and it will. But watching it again with the full picture gives the entire movie a different perspective. The second watch is almost like watching a different film.

Kids in films, particularly in lead roles, can often be very annoying. That isn't an issue here. Frankie Corio gives one of the most likeable child performances I can ever remember seeing. Her chemistry with Paul Mescal was amazing. I read that she wasn't privy to Mescal's solo scene rehearsals, so that she wasn't fully aware of what his character was going through, much the same as her character Sophie wasn't. That's brilliant.

Something that was very apparent on second viewing was the significance of the music in the movie. The first time through I remember thinking, "there are a lot of good songs in this movie". On second viewing you realise that every song used is telling a story. It's telling you what is going on, but like most people in the real world, we just hear a banging song and nod our head to it. Then later on we reconsider its true meaning.

Finally, this film has one of the beast movie endings I can remember seeing. It's classy, heavy and thoughtful all at once. It's done in a beautiful and somewhat haunting way that will stick with me for a long time. 9.5/10.

A moving film about a girl reminiscing on a holiday to Turkey taken with her estranged father 20 years prior. The use of music is terrific, the two central performances are very touchingly delivered (Paul Mescal and the young Frankie Corio). It is one of the films of 2022. The fact this is Charlotte Wells' debut feature is nothing more than astonishing. She delivers massive assurance and confidence in direction, which pushes the narrative forward very tenderly as the girl (Sophie) tries to reconcile her relationship with her father Callum in two separate timelines.

Along the way we are given snippets of her father's troubles. Wells' very cleverly weaves in a subtext that works to a crescendo in the last 10 minutes which includes one of the most brilliant transition shots in recent cinema (not hyperbole, it really is brilliant). The viewer is invited to join the dots on what has happened between the two timelines and there are several clues that help.

Wells' debut has a familiarity with the work of fellow Scottish director Lynne Ramsay, and in particular her film 'Morvern Callar'. This feels lie the birth of another great director.

You have a video of a holiday in the past, when you were young, before life's burdens had amassed, with a father you adore, likes to take to the dancefloor, though he's generally withdrawn and quite downcast. A reflection of a time when eyes were new, interpretation was a seed, as yet to grow, but when you look back now, it's a different world somehow, revealing spaces not yet entered, or sought to go.

It's a slow meander, beautifully filmed, with two incredible performances, although those two highlights alone don't create a piece that takes your breath away as much as you might like, until you sit down to reflect, and absorb what you've seen through your own eyes.

The one thing you can say about the film Aftersun is that it's not afraid of subtlety. It's human realism at its core dealing with themes such as childhood, fatherhood, responsibility, class, and vulnerability. It's the opposite of dramatic yet it keeps you engaged and glued to the screen through out as you care about the characters despite the simplicity of their day to day interactions. Paul Mescal plays Callum, a young father to an 11 year-old somewhat precocious girl named Sophie. The film in my opinion is about a father who tries his best to maintain a rock like mask to convey strength and stability for his daughter while being emotionally vulnerable underneath. Occasionally throughout the film that mask slips a little bit as Callum struggles to bear the responsibility of being a dad at such a young age and while facing his own personal troubles. At the same time his daughter, getting older and wiser, starts to explore the world of adolescence while on holiday where she also begins to notice her father's vulnerabilities. It's a sensitive film and one that leaves you enthralled and attached to the characters on a deeply human level even if that dramatic colonel doesn't pop the way you might except.