Charlotte Wells

Film Bouquets 2022

2022 was a surprisingly good year for film, although – as cinephiles – it was worrying to note that audiences seemed happy enough to continue watching movies at home after last year’s lockdowns ended. Cinemas were feeling the pinch and there was a lot of talk of this being the end of an era, while others pinned their hope on Avatar: The Way of Water bringing people back in droves. Here at B&B, we’ve always believed that the big screen is the best possible place to watch a movie, so we were delighted to be back in our local multiplex and indie venues. Here’s our selection of the films that have really stayed with us throughout the year.

Belfast

Kenneth Branagh’s semi-autobiographical film was the first must-see of the year – an absolute joy, with a brilliant central performance from newcomer Jude Hill. This film is all about formative experiences, the kind that shape a young boy’s future.

Nightmare Alley

A new film from Guillermo del Toro is always cause for celebration. This bleak, dark tale is the work of a gifted director at the peak of his powers, handling a tricky subject with consummate skill.

Red Rocket

Director Sean Baker’s ability to depict working-class life is his real strength and Red Rocket, powered by astonishing performances by Simon Rex and Suzanna Son, offers a brilliant exploration of Trump’s America.

The Worst Person in the World

Joaquin Trier’s film is a rare beauty, a picaresque tale of life and love in contemporary Oslo. It’s built around a superb, award-winning performance by Renate Reinsve. A film that positively buzzes with invention.

Elvis

Baz Luhrmann’s biopic is a big, brash, noisy exploration of the late singer’s life and times. Against all the odds, Austin Butler makes the role his own and Tom Hank’s portrayal of the sleazy, manipulative Colonel Tom Parker is also right on the button.

Bones and All

Luca Guadadigno’s visceral tale of love and cannibalism is a brilliant reinvention of a well-worn trope which can be seen as an allegory about drug addiction. It’s brilliant stuff, but not for the faint-hearted – by turns romantic and repugnant.

She Said

This searing account of the uncovering of Harvey Weinstein’s crimes by two Washington Post journalists is timely and superbly recreated, with excellent performances from Carey Mulligan and Zoe Kazan in the central roles.

The Banshees of Inisherin

Martin McDonagh’s film is a beautifully observed contemplation of the thankless futility of human existence. This is his best offering since the sublime In Bruges, with wonderful performances from Colin Farrell and Brendan Gleeson.

Aftersun

A gorgeous film, sweetly sad and tinged with tragedy. Debut writer/director Charlotte Wells knocks it out of the park with her first feature, coaxing extraordinary performances from Paul Mescal and Frankie Corio. An absolute must-see.

Guillermo del Toro’s Pinocchio

Not content with one title in our selection, del Toro has two – despite the fact that we had to watch Pinocchio on the small screen. Few films deserve the description ‘masterpiece’ as thoroughly as this one.

Philip Caveney & Susan Singfield

Aftersun

24/11/22

Cineworld, Edinburgh

Writer/director Charlotte Wells’s debut feature arrives in UK cinemas, virtually creaking beneath the wait of a whole series of prestigious award nominations. It’s easy to see what influenced those who bestow such accolades. Aftersun is far more experimental than the average British independent; indeed, at times I’m put in mind of the work of American genius, Sean Baker, which is intended as a compliment. This sad, lyrical little film, set in the late 90s, follows the misadventures of a young father and his eleven-year-old daughter as they attempt to bond on a package holiday to Turkey.

Calum (Paul Mescal) and Sophie (Frankie Corio) arrive at their hotel in the dead of night to a series of familiar disasters. Paul has asked for two beds in their room and there’s only one. Furthermore, in daylight, the resort resembles a building site with hammers and drills providing an intrusive soundtrack to those seeking a relaxing day’s sunbathing. But the two of them are here for a holiday and that’s exactly what they’re going to have.

As the languorous days unfold, it becomes apparent that not everything is quite as it should be. We learn early on that Paul is divorced from Sophie’s mother and that she has started a relationship with someone else. Paul seems sanguine about it, though on phone calls home, he still tells his ex-wife that he loves her. And there are some unanswered questions. Why does Paul have a plaster cast on his arm when he arrives? And why is he so vague when Sophie asks him how it happened?

The film unfolds like a series of half-remembered experiences, which makes perfect sense when we are offered scenes of a grown up Sophie (Celia Rowlson-Hall), now a mother herself, looking back on the events of that trip and trying to piece the experience together. Cinematographer Gregory Oke makes everything look ephemeral, often choosing to depict scenes as reflections on a TV screen or in a hotel room mirror, sometimes offering us half-obscured images that don’t tell the whole story. Much of the action is captured as playbacks on Paul’s modest little video camera.

Mescal is terrific but it’s Corio who really knocks it out of the park, nailing the insecurity and apprehension of a young girl at a difficult age, just beginning to experience a growing interest in the teenage boys who hang about the resort. In the skies, a parade of colourful hang gliders often appear to be just out of Sophie’s reach, offering her some kind of escape. But Paul keeps telling her she’s too young to try them out…

This is a gorgeous film, sweetly sad and tinged with tragedy and is as ambitious a first feature as I’ve seen in a very long while. Wells surely has a bright future ahead of her but, for now, Aftersun is a pretty impressive start.

5 stars

Philip Caveney