Written and directed by Charlotte Wells, ‘Aftersun’ is her feature-length film debut and weaves a story that she calls “emotionally autobiographical.” She uses the language of film to recreate memories (while talking to other critics, it was mentioned that the film is not unlike Alfonso Cuaron’s ‘Roma’ or even Celine Song’s ‘Past Lives’). Told in a non-linear narrative structure and occupying two timelines and one figurative one, ‘Aftersun’ grapples with the strained relationship between a father, who may be suffering from depression, and his eleven-year-old daughter on a holiday in Turkey during the late 90s.
Told in varying formats, the film unfolds through moments of this pivotal holiday between Sophie and her father Calum and then interspersed with footage taken from a video camera that either Sophie or Calum uses to record parts of their trip. Later, we discover that Calum has separated from Sophie’s mother and is in-between jobs. There is a lot of love and affection between the two but there’s a chasm that’s between them as well – an unspeakable and unamiable thing that also hinders them from completely being there for each other.
While the movie seems innocent enough, there is always an element of danger hanging on every scene. While Sophie is well documented by the camera – she’s always in full view, her face and every gesture and reaction she makes is open for us to see – it is Calum who never seems to be in focus. He’s almost either turned away from the camera or is never at the center of the frame. It feels as if he’s always just at the periphery. He tries to be close to Sophie but also can’t completely connect. The camera will linger on Sophie but not so much with Calum.
The dangers come also in different forms. Sophie also befriends older English teens who are also vacationing in Turkey. She forms a friendship with another boy her age while playing arcade games, while from the teens, she watches them as they flirt with each other, drink, and talk about sex. Sophie is growing up and while there’s nothing in the filmmaking that highlights this danger – not the camera angles or the musical score – it is evident and always looming. Wells knows exactly what each scene could potentially lead to and she lays it out there, even if she doesn’t do anything with it. It’s always there inhabiting and permeating each moment of Sophie’s very observant nature, capturing and processing every thing she’s seeing.
So much so, that while she doesn’t exactly understand what her father is going through – this was the 90s, of course, so any discussion on mental health was veyr minimal and not at all prevalent amongst the younger generation – she sees it and this is another element of danger. From Calum’s inability to connect and bridge distances, in scenes where you feel like it is the last time you will see him, like in the way he walks into the darkness while getting drunk one night, or the way that he swims deeper into the ocean trying to rescue a diving mask. Charlotte Wells never says it, never names the monster, but deep down inside, just from the performances and the way naturalistic way Wells sets up a scene, it’s there.
What elevates the material even more is the exquisite performances by Paul Mescal and Frankie Corio. The bond between the two actors is palpable and makes each moment seem more real. Their banter and their little fights throughout this trip makes the relationship authentic and true. It’s why the emotional weight of the finale is so strong even if Wells chooses to never define anything so clearly.
When the film’s main timeline intersects with the future timeline, the older Sophie finding the video camera and you realise she’s remembering this holiday she had with her father, the story reaches full circles, and more questions open up that deserves our scrutiny and thoughts.
‘Aftersun’ is not an easy movie to take in. It’s every bit as funny and painful as any trip down memory lane. It carries with it unresolved feelings and unanswered questions. It’s about love sometimes not being enough and settles and lingers in the gray areas that are formed when dealing with people undergoing a hardship we don’t understand. The film makes full use of the medium of film and deservedly received some of the highest praise when it was released last year.
My Rating:
AFTERSUN is opens August 23. Check the screening times and buy your tickets here.
