Aftersun

[Steveandkerry Riddell]

Good morning all

Gotta lot more out of the film chatting about it in the car with my wife and daughter ( they are more clever and sensitive than me) W e spoke about risk and forgiveness. Did you?

Steve

[Alex Banwell]

I don't think we did Steve. In what context did you all talk abut it?

The mood was generally very positive about the film I'd say, some said the start was a little slow but mostly positive.

I'll watch again but for me it's perhaps only surpassed by Banshees this year. Just blown away by the efficiency and power of what Charlotte Wells is doing with what you see from the father. She doles out these glimpses at first that become more and more obvious as the film goes on.

I'll add the scene on the raft from a distance, the two of them isolated in the bay with him talking to her about boys and drugs and alcohol ending with the line 'and that's OK too' to her saying she'll never do all that stuff just wrecked me, and I don't know why. Maybe I needed to hear 'and that's OK too' a few times myself when I was young! And the scene at the end dancing to Under Pressure was just both beautiful and heart-breaking.

Alex

[Steveandkerry Riddell]

Good morning Alex

How the father (and all parents) balance protection and risk and how the daughter looked back to try and find memories to understand her ( obviously damaged father) and how this involved her isolating incidents where she felt scarred by his carelessness in that regard. How the things that damage and burn us are often seemingly banal. That's one idea anyway and I think the film was a  nebulous piece enabling you to fill in the gaps yourself. Definately a slow burner ..like memory.

Steve

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[John Harvey]

It's so tempting to watch the film again tonight.

I thought it took it's time to get to the point where it drew me in -- for a few minutes I was thinking, mmm, why is this so highly regarded --  and then, I don't remember at which point, it did. Maybe when Sophie was on the bike (next to Michael) and all of a sudden the focus shifts to Calum, in the distance, holding a beer. Not sure why. The film was full of moments like that, the juxtaposition of the paragliders in the sky, then slowly shifts to their reflection in the pool, which made them look likes leaves.

Interesting that the music has been mentioned a few times (on here and last night), it's one of those things, hearing a song can transport you instantly to a time and place where you either heard it first or where it made a big impression on you. And kudos to Charlotte Wells for altering Blur's "Tender" where the song slows and slows and also isolating the vocals on "Under Pressure" so that, even if you know the song, it's not the way that you remember it. Another distortion of (song and) memory?

Cheers,

John  

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[Alex Banwell]

I note it was also number one on Sight and Sounds list: The 50 best films of 2022 | Sight and Sound (bfi.org.uk)
Review here: Aftersun review: girlhood memories of a father’s gloom | Sight and Sound (bfi.org.uk)

Saint Omer number 2! Looking forward to that in the new year

Alex

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[John Harvey]

HI Alex,

just saw the list too.

EO and TÁR (and Corsage at #11) will feature on Mondays and All the Beauty and the Bloodshed is also coming.

Cheers,

John 

[Anne Barclay]

Loved it, and the test of a great film is that it prompts discussion way beyond the usual. It certainly did that, as we tried to recall the signals that something was awry. One thought I had, Alex, is that it reminded me, like you, of odd childhood memories I had parked elsewhere. Steve said it is the banal that can cause damage. True as a former child, and I will try not to overthink the consequences of my parental actions too much. For the most part, parents do the best they can. John, the amazing soundtrack was from the time we were doing our own parenting so it was familiar and evocative. Long after ordinary memories fade in dementia patients it is music that perseveres which it had - and has-  such a powerful impact I think. Tempted to re-see too!

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[Julie McMorran]

I wasn't sure about Aftersun - I didn't dislike it, I just felt that I may have missed something. On reading all your comments and from last night's discussion, I shall watch it again at some point. I think that perhaps it's not the film but me and that whole thing about identifying with a film/story. My dad died when I was five and I have tended to hold back from watching films specifically about father-daughter relationships ( I nearly didn't go last night), so it's probably something to do with that. I thought both actors were incredible but there was just something missing for me/perhaps I was holding back.  It was maybe not direct enough in what it was trying to say about what happened to them in the longterm, I don't know... 

On a lighter note, I was thinking about my top three of the season... and came up with four :- ) 

1. Banshees of Inisherin (despite the donkey scene)
2. Triangle of sadness (also despite the donkey scene)
3. No Bears
4. Crimes of the Future

Anyone else got their top three? Four allowed (clearly!)

Julie

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Sent: 20 December 2022 13:17
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Subject: Re: (Robert Burns Centre Film Club) Re: Aftersun

 

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[Steveandkerry Riddell]

1. Banshees of inesherin

2. The Quiet Girl

3. Flux Gourmet

4. Crimes of the future

5. Souvenir part 2

6. Red Rocket

7. Compartment no 6

8. Ali and Ava

9. Memoria

10. Brian and Charles

Also shout out to Playground , Hive,  Great Freedom, Flee, Cmom cmon, Decision to leave, Mass, triangle of Sadness 

Steve

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[Julie McMorran]

Ooh, a whole year of film club films (I missed so many but have seen some that you've mentioned)

To my list I would absolutely add Compartment Number 6 - great film, and C'mon C'mon, as I absolutely loved it (my hero Joaquin)!

And a personal shout out for me is Harvest the Neil Young documentary Alun and I saw at the RBC not so long ago. I haven't stopped playing Neil Young songs ever since.

His songs make great earworms!

Julie

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[Steveandkerry Riddell]

Could not believe NOPE was even in the top 50 never mind top ten. Terrible. Really liked his other films.

Steve

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[Steveandkerry Riddell]

Missed out Hit the Road in my honorable mentions

Steve

[Julie McMorran]

Connor said that to me about Nope earlier! I've not seen it.

Julie

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Subject: Re: (Robert Burns Centre Film Club) Re: Aftersun

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[Alex Banwell]

Can't really remember what was film club and what wasn't now!

But my top ten of the year were, in a rough order:

Banshees of Inisherin - I watched the clip of Barry Keoghan's character confessing to Siobhan yesterday and welled up all over again just heartbreaking knowing where it leads, I don't think we really talked about how good he was in this. 

Aftersun

Worst Person in the World

Everything Everywhere All At Once

Good Luck to You Leo Grande - This film seems to have completely passed everyone by. I get the subject matter isn't necessarily for everyone but good lord do Emma Thomson and Daryl McCormack have ridiculous chemistry.

Woman King - The film is not perfect by any stretch but this was my best cinema experience this year year, just a joy to watch. In a just world it would be getting the Spartacus/Ben Hur/Braveheart/Gladiator Oscar push and equivalent monster box office. And I'm sure Blanchett will be mesmerising or whatever in Tar but I can't imagine she gives as good a performance as Viola Davis does in this.

Decision to Leave

Drive My Car

After Yang

Souvenir pt2

Honorable Mentions: The middle section of Triangle of Sadness, C'Mon C'Mon, and Boiling Point 

What a great year for films

[Steveandkerry Riddell]

Ah Boiling point, forgot that- brilliant. 

Steve

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[John Harvey]

In no particular order (and they're all ones I watched this year although some may have come out at the end of 2021):

Boiling Point (although it very nearly gave me a panic attack)

Mass

Everything Everywhere All At Once

Ali & Ava

The Banshees of Inisherin

Compartment No. 6

Nightmare Alley

Drive My Car

Brian and Charles

Top Gun: Maverick

I'm sure I've missed a few.

Hoping to catch up with The Quiet Girl and Triangle of Sadness over the holidays.