Departure

Andrew Stegall's film 'Departure' tells the story of a son and his mother under pressure when they have to sell their holiday home in the wake of the break-up of her marriage; and simultaneously, of the son's nascent interest in a local youth. At times, we're dangerously close to Joanna Hogg territory (and I don't mean that kindly), but the characters are mercifully drawn with more warmth and we're allowed enough of a glimpse of the back-story so that the film makes sense. It's still not quite right, however, with alterations between sections that are well-crafted, dull Hogg-like periods where nothing happens save for the characters sulking in their misery, and occasional moments oddly presented as ephanaic in a way that jibes with the mood of the rest of the film. It's not awful, but I found it hard to get engaged.

This is one of those character driven movies that draw you in from beginning to end.

The movie follows mother and son over a week as they pack up a vacation home and ready it for sale. They meet a local boy enters their lives and complicate matters.

Although slow moving at times, I found this a fascinating watch with believable characters and situations.

Andrew Steggall's lovingly directed first feature is a breath of fresh air in the British cinema scene. What at first sight looks to be a quite familiar LGBT coming of age story is turned by Steggall and his lead actress, Juliet Stevenson, into a far deeper and more engaging story. Elliott's (Alex Lawther) discovery of his own sexuality is beautifully framed against the collapse of his parents' marriage and their discovery that their lives had been based on falsehoods that, in some sense had crept up on them unawares. This is a film that will reach out far beyond the LGBT market and should do well across the European art scene. Very finely and delicately shot in the Languedoc region of France it establishes Steggall as a truly new voice in British cinema - not just composed and assured in the medium but with a distinct aesthetic of his own. It will be fascinating to see where he goes in his next feature - surely a larger and even more ambitious project.

Not many directors start their full-length future film careers with powerful films. The few examples I can think of include Jean-Luc Godard with his 'À bout de soufflé' ('Breathless'), Alejandro González Iñárritu's 'Amores Perros', Gus van Sant's 'Mala Noche', Larry Clark's 'Kids' and Xavier Dolan's 'I killed my mother' ('J'ai tué ma mère'). And now there is another one on my list: Andrew Steggall's 'Departure'.

Elliot (Alex Lawther) and his mother Beatrice (Juliet Stevenson) are vacating their holiday home in the south of France. As they are packing, a picture unfolds. Once happy times don't seem so happy anymore. Could the absent husband be part of the problem? It is not that simple. We gradually get to know the mother and her son. Beatrice's life is slowly crumbling away, while Elliot, on the other hand, seems to be living in his own world. Elliot meets a French lad, Clément (Phénix Brossard) a few years older than him and develops a crush on him. Both boys have issues to deal with, influencing their friendship. When Elliot's dad arrives, matters come to a point.

This film has several strong points: The cinematography by Brian Fawcett is outstanding, be it of the forest and river landscapes, or indoor scenes. I found the acting excellent; special mention must be made of the powerful performances of Juliet Stevenson and Alex Lawther. My only negative comment is that the editing could have been a tad tighter, particularly regarding the underwater footage that seems to be over-emphasized. This is only a minor issue and has no serious impact on this rewarding film. I am looking forward to Andrew Seggall's next film. I score 'Departure' an excellent 8/10.

This is a simple story that has so many layers that it becomes completely complex. Beatrice (Juliet Stevenson) is going through a marital crisis and she has brought her son – Elliot (Alex Lawther 'X and y') to help her pack up their idyllic summer home in rural France; it having become another victim to the relationships deterioration. Then Elliot sees a local lad swimming in the reservoir – which is strictly not allowed – and decides he has to get to know this boy better – a lot better.

This is Clement and he is a force of nature , all emotion and rough hewed charm and his arrival makes the simple act of closing down one part of their lives become more about opening up what – until then – had remained closed off in their lives.

This is beautifully filmed and acted to perfection. It is almost painfully honest in places and the raw emotions are both riveting and almost repulsive in equal measure. This is a film that seems to take its time but it really doesn't it is strong and measured and the characters seem completely real. The depth of the story is as complex as reality often is and strikes home all the more forcefully for it. In short this is an absolutely stunning film that is worth all the plaudits and more.