SXSW 2021: Here before, our father | Festivals and awards

The ultimate revelations that come from this type of emotional terrorism turn out to be a powerful part of human behavior, especially for a film that wants to be so grounded and insightful. However, the twisty storyline isn’t what resonates the most with this film, as it’s the cinematic storytelling (Chloë Thomson’s cinematography in particular) that creates such uneasiness with its full use of the frame and established sense of focus. space. Interactions between Laura and Megan’s mother Marie (Eileen O’Higgins) become progressively uncomfortable, especially with the visual tension that Gregg permeates the scenes, like a scene in a grocery store. The camera slowly crawls over to another moment where Laura begins to act like a mother to Megan, although this is grossly inappropriate. Grieving is extremely disturbing in “Here Before”, as is the feeling that something is seriously wrong. Gregg’s film presents his unfathomable mystery in style.

Our fatherBradley Grant Smith’s first film is the story of Beta (Baize Buzan) and Zelda (Allison Torem) – two sisters in their twenties in the Chicagoland region who are in their own isolated worlds of sadness. , which need some type of connection. Beta slept in her car, we later learn due to a toxic relationship, and her younger sister Zelda lives in a boarding house with older women, while also establishing a relationship with a decorator named Henry. The two need each other, as no one should have to go it alone, and there is a lot of sadness in the past that they don’t face.

They reunite when their father dies by suicide, and it turns out the two sisters run into their mother-in-law Jane and her sometimes mocking older sons. They learn as everyone separates from the father’s possessions (one of the many streaks that go for the quirky / whimsical dual value without leaving much of a mark) that they have a estranged Uncle Jerry and seek to find him as one. type of connection. to a family. What follows is not a road trip, but a low-key investigation to locate Jerry, one set of plot-after-plot devices in which the characters remember the information in a practical way, and it’s too quiet for leave an effect. The sisters are interesting to follow through this story, especially since their quest takes a type of heartbreak without Smith’s script overdoing it.

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