In Aftersun, Paul Mescal is painfully believable as a wrung-out, working-class dad Review: ⭐⭐⭐⭐
might lead one to believe that this is a film that splashily announces itself to the world – or one that attempts to make a definitive statement, about divorce or fatherhood or any of its themes. Nothing could be further from the truth:is a shimmering, elliptical, humane tragedy of feeling – unshowy, unhurried, and all the more devastating for those reasons.
It’s filmed, in part, through the dislocated imagery of 90s mini-DVR to evoke both the period and to indicate that this trip is, in fact, being viewed through the context of an adult woman’s memory, now the same age her father was. Its bric-a-brac approach to memory and image is often poignant and unique: one scene, where Calum and Sophie chat about what he recalls from his own 11th birthday as they’re vaguely reflected in the hotel room TV, is striking in its original framing.
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