– CANNES 2022: Charlotte Wells shows her great potential as a director with a subtle, sensitive and highly controlled debut about a divorced father’s leave with her 11-year-old daughter
Francesca Corio and Paul Mescal after noon
Take a classic theme of British social realism and infuse it with a personal and original character, revealing your own directing skills and the backstories of the two main characters. With his first feature film, after noonin competition with semine de la critique out of 75 Cannes Film FestivalScottish director Charlotte Wells She immediately distinguished herself as having a singular voice, full of subtlety and sensitivity, and so it should come as no surprise that the company co-founded by Barry Jenkins is one of the film’s principal producers.
“I just turned 11 and you’ll be 31 in two days.” Sophie (Francesca Corio) and his father Callum (Irish) Paul Mescalgrowing up from the days of the series normal people) Spend a few days of summer vacation together in a small and modest resort in Turkey. Callum, who has long been separated from Sophie’s mother and no longer lives in Edinburgh but in London, wears the mask of her caring father, but behind her sweetness, her humour, helps her to ensure Efforts that the living room should achieve it on its own. Family pleasures (eating ice cream, sunbathing by the pool, scuba diving, playing movies with miniDV), an aura of sadness around the young man, a deep inner fracture, not only economic (not being able to offer anything better) but most The growing existence, which the daughter will pierce little by little at a time, while she herself is experiencing the first curiosity of adolescence.
Because it’s really about love for Sophie, (r) bonding to weave, memories to recollect (the film is subtly and sensibly created through flashbacks) to this oddly protective father, her strange tai-chi movements and her books on the bedside table, how to meditate And Poems, Stories and Writings (From margaret tato, who was a symbolic director and a passionate traveler in the history of Scottish cinema, which is clearly not accidental). The important thing is to try to understand the language of the other, who the other is, and share the same sky if not the same place.
Perfect interpreters, sophisticated and inventive staging, a sense of the times, lighting and framing, subtle sensibility, short “crossovers” and skilful reversal of the film’s main narrative theme from father to daughter, a harmonious interrelation of symbols and motifs that tell different things : under its “normal” aspect, after noon This is a really impressive first feature.
(translated from french)
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