‘Aftersun’: The father’s fall from the pedestal

Maybe made into something traditional, most children put their parents on a pedestal, at least when they are children. Being the first reference that minors have in society, the closest link, they are usually the model to follow. So, it’s usually somewhat traumatic (and unavoidable) to see how they fall off that podium and are seen for who they are, people with their own strengths and weaknesses. to that process, The British Charlotte Wells wanted to pay homage to her with ‘Aftersun’, her first feature film, in which she recalls the last summer spent with her father as a child.

‘Aftersun’ re-enters that wave of new directors who take advantage of fragments of his life to create a story with autobiographical and self-referential overtones. Likewise the film, with a style halfway between social and independent cinema, with some contemplative moments; It may be related to Carla Simón’s appearancejust that changing the rural setting for a holiday one, placing the story in a Turkish resort of the 90s, thus giving it a certain exoticism of its own for a story that has a certain epic touch.

On background, is a love letter from a daughter who, when she reaches the age her father was when she lived with him that last summer, can really understand what his 11-year-old self was not able to fully understand, even if he sensed it. The director combines a flashback storyline with another more metaphorical one, in which her girl and adult version meets her father in what appears to be a late 90s/early 2000s style rave and interacts with from a distance or violent proximity, as if releasing pent-up anger.

This can be understood thanks to the main plot, the one set in that last summer together. The protagonist, Sophie, only 11 years old, goes to that resort in Turkey with her father, she does it in a bus that takes them directly from the airport. The tourist complex has hotels and even bungalows, as well as the typical activities of these places, with dance lessons, karaoke or theme nights. Wells does a real exercise in detail, managing to bring the spirit of the 90s into his film.thus imbuing it with a nostalgic atmosphere.

the details are essential

And, in between, Calum, a father who knows he had his daughter very young, when she was only 20, who has reached the age of thirty and who is going through a terrible existential crisis, sensing that man expected to have another kind of life when he reached that age. Wells turns his protagonist daughter into a shrewd observer, who notices things, even if she can’t fully process them. The indications are clear, there is a strong parent-child bond, but that doesn’t hide the fact that Calum feels there is some sort of distance between himself and Sophie. That emotional distance is reflected in other small details that Wells knows how to expose, such as the deep depression that the parent tries to hide, even if there are times when it is evident.

That depression turns the protagonist into a dark spot at certain moments, which are the ones that help him fall off the pedestal he was standing on in the eyes of his offspring. Very symbolic is the sequence in which Sophie tries to sing a duet of ‘Losing My Religion’ by REM with her father, a tradition that began when she was just 5 years old, and which sees how her father throws offensive comments at her to avoid going on stage . It’s those moments when, suddenly, the roles return. Once the father falls off the pedestal, the daughter is able to take care of him and look at him with the self-respect that one has for a parent, but seeing him for the person he is. Wells does it in a symbolic way, thus winning over the audience.

Through the personal, Wells creates a universal story. That love song to his father, which one understands when he comes of age, is fascinating. The director shows a unique sensitivity. On the other hand, he shows talent as a director of actors, with whom he is seen Paul Mescal. The ‘Normal People’ actor had already shown his talents outside of Hulu fiction with a brief role in ‘The Dark Daughter’ where his knack for introspective roles was seen. With ‘Aftersun’ it allows that facet to be fully displayed, with a charming protagonist, who says much more with his agonizing silences than with his words. There is also Francesca Corio, the young interpreter dazzles with a very mature performance, which could very well be in line with that new generation that brings the internal fury of Carla Quílez in ‘La maternal’ or the restrained pain of Laia Artigas in ‘Verano 1993’.

Charlotte Wells becomes a director to watch. His feature debut is captivating, thanks to the intimacy it brings to the film., with those details made to deepen that feeling of being a public voyeur, since what he tells seems to be very personal, a typical magic of stories with self-referential overtones. With a more than promising debut, it is clear that the director has several tricks up her sleeve. So, you need to keep an eye out for your next big screen project.

Note: 8

The best: The intimacy that emanates, the painful interpretation of Paul Mescal. One of the actors who performed best in this 2022.

Worse: Sin of having too contemplative moments. The question remains whether Wells would fare well with a film that is anything but self-referential.