Aftersun (2022)

#2. Aftersun

"Few things in life, let alone a film, can capture reality for what it is.  As if the days past, could be recorded, held onto, and bottled up for an eternity."

Do you ever get that feeling that you're experiencing something different?  Something great before your eyes?

Aftersun feels like a vacation we've all gone on before.  It feels like a cool breeze coming in through your hotel balcony, brushing quietly over rustled white sheets.

It feels a bit like childhood.  But it's also the story of Fathers and their Daughters.  And the dichotomy that comes with having to show both strength and grace.

Charlotte Wells has reminded us that in a world full of sequels, adaptations, big ideas, and billion dollar franchises, great films can still be quiet, mundane, and rather ordinary.  And that some of the greatest ones, are just that.

Paul Mescal is ascendant.  An embodiment of grounded, yet turbulent masculinity.  There is a subtlety and maturity that is far beyond his years.  Something we saw in Heath Ledger.  An unbridled confidence and charisma, unstirred by ego, but most moved by the heights in which their art can reach.

It is said that Man was made lower than Angels, but there are some like Frankie Corio who may have broken the mold.  If she were to never act in a film, show, or play ever again, it would be the world's loss, but Frankie could rest on her laurels.

Childhood innocence and spirit are fleeting.  Most of us lose it in our later years, and few of us truly had it to begin with.  Frankie shows that she has it in spades, and reminds us what that is like.

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