Film Review #69: AFTERSUN

The feature film debut of writer-director Charlotte Wells is a deep, yet subtle exploration of depression, and loosely based on the filmmaker’s personal experiences with her own father.

Aftersun (2022) follows the story between Sophie (Frankie Corio) and her dad Calum (Paul Mescal) in retrospect during a father-and-daughter vacation which took place twenty years prior. Sophie, now grown up, struggles to reconcile the impression of her father she used to have as a child, against the seemingly daunting reality that she only recognised as she grew older.



This film is one of those where the viewer is required to watch between the frames and read between the dialogue almost as immediately as it begins. That said, while more is being conveyed in the unobvious, Wells did not intentionally craft the story to be entirely up to interpretation or inference. For instance, Calum sobbing the night after his daughter and fellow beachgoers sang him a birthday song needed no explanation to offer insights into the possible loneliness and deprivation of love he faced in his life, in addition to the depression he is implied to have.

It might have been challenging for viewers to sit through specific scenes or images in the film, especially those who have experienced similar mental health problems personally or through their loved ones. The few (and it truly was very few) instances viewers see adult Sophie on the screen did not shy away from portraying the stark contrast of her now-traumatised state of mind upon realising what her father was going through, as compared to young Sophie loving the company of her father during the trip (for the most part).

What sets Wells’ writing apart is that young Sophie was properly aware that Calum was not exactly leading a comfortable and satisfying life (if at all), at least in the pragmatic sense. Notice Sophie’s response to Calum’s suggestion of getting her singing lessons, to name just one example.

The use of music, both background and diegetic, was consistent yet polarising at the same time. Older audiences and those into pop and rock classics would have recognised R.E.M. 's Losing My Religion and David Bowie’s Under Pressure instantly. Both songs, I personally feel, were spot-on in propelling the narrative. Calum’s refusal to sing on-stage with his daughter, though understandably because Sophie insisted on performing it against his wish, suggested more beyond him just being shy – it hinted at a deeper insecurity, of his depression and perhaps even something to do with him and his ex-wife (Sophie’s mother). On this note, it might be useful to recall and consider Sophie’s question on why Calum and Sophie’s mother continued saying “I love you” to each other despite their divorce. This is another instance of young Sophie being somewhat aware of her father’s unhappiness despite being too young to fully understand it.

The background music also contrasted beautifully with the diegetic songs. As “Under Pressure” morphed eventually, it linked up seamlessly with the instrumental music throughout other parts of the film, most notably the extra long take at the farewell between Calum and Sophie which shall not be discussed at length here (if you watched the film, you know).

Performance and direction-wise, it’s difficult to believe this was a feature debut. Frankie Corio, with limited knowledge of Calum’s full character journey (just like Sophie), gave a convincing performance of a girl in her adolescence who is not raised in a nuclear family, and who has to face her moments of confusion arising from her parents’ separation, the feeling of first love and so on... Corio is surely an actress to keep on our radars in years to come. As for Paul Mescal, it no longer remained a wish in many people’s hearts and minds when he was finally confirmed for an Oscar nomination, regardless of the very same disappointment in the then-speculation, and now, fact, that someone else takes home the Oscar. In his mid-twenties, Mescal’s ability to bring to life so vividly (and disturbingly) the tolls depression could take on someone, on top of the story of a young and divorced father struggling financially, suggests the actor’s astonishing maturity and unmistakable potential to deliver more commanding performances in the future.

Wells’ strength in directing this film was a product of her very strength in producing a screenplay of immeasurable depth and the complexity in its simplicity. While it would be premature to speculate what Wells’ style is for now, several creative decisions she made in transferring what was on her script onto the screen definitely display her talent as a director, and a writer-director. Take note of, once again, the long take at the end of the film as mentioned earlier, and the pseudo-split screen of Sophie reading and chatting with Calum in their room while Calum was in the bathroom. These are just two examples of creative decisions by Wells and the film’s cinematographer – Gregory Oke -that achieved astounding effect.

Like many independent films, especially first features, Aftersun (2022) is not for every moviegoer. Nevertheless, conscious viewers, film enthusiasts or not, going into the cinema with a brief understanding of the film’s plot, are believed to not leave the theatre without either having shed tears or feeling heavy, but very likely also in awe of the film.

My Letterboxd score for Aftersun (2022) – 4.5 stars.

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About the Author: Jarrett is a devoted cinephile for over half of his life. Apart from movies, coffee keeps him awake and music keeps him alive. Having studied theatre and performed as an actor before, he's also a sucker for great performances.

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