Aftersun (2022)
Directed by Charlotte Wells
Sophie reflects on the shared joy and private melancholy of a holiday she took with her father twenty years earlier. Memories fill the gaps between camcorder footages as she tries to reconcile the father she knew with the troubled man she didn't.
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13 films that influenced Aftersun
What critics say influenced Aftersun
There’s more than a hint of the tactility of Lynne Ramsay’s early works, with short films such as Gasman (1997) and features such as Ratcatcher (1999) clearly serving as inspirations.
Aftersun can be compared with Ratcatcher since they were debut films that focused on young characters, had different storylines that take place in a certain area, and had the occasional artistic diversion.
There’s more than a hint of the tactility of Lynne Ramsay’s early works, with short films such as Gasman (1997) and features such as Ratcatcher (1999) clearly serving as inspirations.
It ends with a dance scene (another fucking Beau Travail (Claire Denis, 1999) homage) and as the great climax of the film, I knew that people back home watching this at London Film Festival are going to be crying.
Barry Jenkins is one of the producers, which is appropriate, because in films like Moonlight he also uses childhood as a launching point for a complex story of relationships echoing down the decades.
As for Calum, his outward calm seems to cover demons of denial; a trancey energy that threatens to break through the placid surface of his current life, dragging him back into a more chaotic – or euphoric – existence ( Moonlight director and Aftersun co-producer Barry Jenkins describes Calum as “wading through wells of quiet anguish”).
Meanwhile, the film counts amongst its producers Barry Jenkins and Adele Romanski, the director and producer behind the phenomenal Moonlight and If Beale Street Could Talk .
Talent škotske filmašice prepoznao je oskarovac Barry Jenkins (“Moonlight”, “Ulica Beale”) i producirao njezin prvijenac, iznimno poetičan i osoban komad melankolične, pa i elegične drame.
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Among other Malick echoes in the cinematography, these fragments feel like an inversion of the beach vision in The Tree Of Life , where the protagonist can embrace and finally be at peace with his family.
As it is, Ms. Wells owes an incredible debt of gratitude to Lynne Ramsay’s vastly superior “Morvern Callar,” another Scottish movie about a young woman, haunted by her memories of an emotionally mysterious man, on an ill-advised cheap beach vacation.
Someone referred to this film as an “arthouse Paper Moon ,” but unlike Ryan and Tatum O’Neal, Mescal and Corio’s performances mainly rest on their ability to play off one another through their candid moments, whether teasing, a deep conversation, or lathering sunscreen or mud on one another.
Conflict and mishaps can arise – out of nowhere – and for reference and commiseration, watch “National Lampoon’s Vacation” as a form of therapy.
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Gregory Oke’s fuzzy and tactile cinematography suggests a more sensitive read, its gossamer textures recalling the work of Lance Acord in a movie that often feels like a platonic riff on “Lost in Translation.”
Das sehenswerte Debüt der Schottin Charlotte Wells variiert das Vater-Tochter-Thema, wie es etwa Sofia Coppola in Somewhere (2010) verhandelte, in einer eigenständigen Handschrift, die sowohl die Form als auch den Inhalt betrifft.