Long Way Back

Films like these have been done several times before; some better, some worse. This one is not too bad, though. The story of a father and an estranged daughter rings a bell with me on a personal level. The film does not try to hit you over the head with the conflict between the father and the daughter, but uses several nuance scenes to get various points across. The tension is present from the beginning, and we feel like we are a parent who wants to reach out, but at the same time, a parent who wants our child to understand there are reasons for things that happen that are out of our control. A good film for those who have ever had trouble with their father/daughter.

'I can't stop thinking about it': This is a common statement shared by audiences upon seeing this beautiful film from O-region. The deceptively simple narrative of 'Long Way Back' charts a pivotal road trip between a father and daughter. The filmmaker's handling of this relationship is a masterclass in restraint on multiple levels: the narrative tension of what is, and is not, spoken aloud; the slow burn reveal of character and plot; the casts' nuanced and natural performances; Adam Laity's stunning cinematography that juxtaposes intimate close-ups with stark natural landscapes framing endless asphalt roads... this is a meditative road movie that reveals an emotional heart that incrementally pulls focus in a manner that is so subtle it is almost imperceptible, like the transition of daylight to dusk- sometimes we can't acknowledge the absence of the sun until it is too dark to find the way home.

The term 'character driven' has never felt so apt, as David's (Tristan Sturrock) roguish, yet likable protagonist struggles to get from points A to B. His tense relationship with his whip-smart daughter, Lea (Chloe Endean), will be relatable to anyone who has tried to bridge or heal an emotional divide with a loved one when the gulf seems insurmountable. Their witty, barbed banter is layered with years of emotional memory and texture, providing plenty of laughs that break the tension as writer/director Brett Harvey manages the various tonal shifts with aplomb.

The story opens in mystery, when David is called upon to prematurely evacuate his daughter and all her belongings from her university accommodation for reasons unknown. There is an unspoken sense that both characters have struggled to belong, and that they are more alike than either of them would like to admit, as they both struggle to process the changes on the open road ahead. The cast, led by Endean and Sturrock, are excellent (Esther Hall also has a small but stunning turn) as is the haunting and moving score by Matthew Thomason.

There is a palpable sense of loss that permeates the film. David romanticizes his youth whilst failing to recognize how little he has grown. Lea's staunch disapproval of her old man's ways seems to fall on deaf ears, but as the film progresses, we realize David is perhaps far more aware of his proclivities than we thought, which lends a hidden depth and emotional through-line that at times surprises, often amuses and even devastates. It is a powerful experience to share a character's inner life as they look in a mirror and truly see themselves. These characters feel truthful and lived in, and it's worth it to take the trip with them at the cinema. 'Long Way Back' is ultimately a hopeful journey that posits the message behind one of David's favorite lyrics, that despite our past sins or lack of answers, 'maybe it's time to live'.

What a treat it was to see Brett Harvey go far in this assertively directed, thoughtfully constructed and surprisingly humorous tale of an estranged father attempting to impress his daughter with unwelcome musical factoids.

It was surreal to see Glasney View on film; then, the film took it one step further by showing a scene within the accommodation, and even a scene in the SoFT (School of Film and Television) building. Boy, all the memories came flooding back. What a smile it put on my face. All it needed was a Mark Douglas cameo!

Great performances all around. I really appreciated the simple camerawork, as most dialogue scenes were captured in either single takes or shot/reverse shot. I would never describe its presentation as pretentious; it was an efficiently told film, clocking in at less than a hundred minutes. Very refreshing!

Seeing Edward Rowe and Chloe Endean casually have a Bait reunion, even if they didn't necessarily interact on screen, was fun to see as a Mark Jenkin fan. I knew I recognized Martin from Bait!

I think the structure of the film, after a while, does perhaps become a bit repetitive, and it does feel a little long in parts, but it doesn't affect the film much.

No spoilers, but its final shot does leave a lot to be questioned, and I'm not sure if it will have the desired effect for others, as it left me a bit cold. But, this could be the ambiguity the filmmakers intended.

Flaws aside, it was cool to see Falmouth University filmmaking in action, and I can only imagine - from personal recollection of his memorable lectures - that Harvey filmed copious test shoots to proactively nullify any problems from developing during production.

Long Way Back is very methodically crafted, and very much a Brett Harvey film in every sense of the word. Check it out!

Truly a perfect depiction of the melancholy both parents and children feel alike when they just can't connect with one another, especially when yearning to.

The twist had me in tears, but I was bawling my eyes out long before that; the montages, jokes, and higher points in the film still gripped me as a student missing their parents, and as an audience member alike.

Shot beautifully with some equally dear sound design that has the film pulling at your heart strings and keeps you connected to the pain characters, feeling sympathy not just for the father, David, but for the daughter Lea as well. Truly enjoyed the film and will be recommending it to everyone.

Beautiful piece of art.