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⋅ʚ Aftersun: Are we happier in our memories than in reality?⋅ʚ

➴ January 23, 2025. ₊˚ෆ

While this is a transposition that has nothing to do with Seneca's entire statute, I firmly believe that Charlotte Wells's film is so multifaceted that it allows for opposing and complementary readings of its characters in equal measure.

────────────────────── ୨ৎ ─────────────────── The situations are pleasant, simplistic yet heartbreakingly human, with Calum's (Paul Mescal) tender witticisms and his father jokes concealing conflicts that slowly escalate into their reality. The film shows us, without much fuss or show, that time does not heal everything, that we are happiest in our memories because they sometimes fade for our sake. What are we but the pictures of our happy moments, or the silly dances in places where no one knew us? Aftersun is a subtle visual and narrative treatment of pain, but it does not completely erase it. Like time, the film navigates in our memories, in what we may have overlooked unintentionally or by force. We are Sophie in the past and in the present, sometimes also Calum, trying his best not to ruin the moment at the cost of our own peace.

It would be foolish to pretend that this coming-of-age film, full of emotional mirrors for the viewer, is a film of tissues and snot for the simple pleasure of appealing to our empathy.

Aftersun works on a micro level with vital elements such as nostalgia and loss in all its forms. Action, or the lack of it in the face of different situations, is also what makes Wells' work so special, for aren't we the ones who deform past events to the point of unconsciously changing them? the ones who miss not having noticed things we couldn't intervene in? The powerlessness of an isolated space like the present of the past, Sophie's position as a child not allowed to help her father, and Calum's willingness to keep everything to himself in order to make her happy.

The intimacy of the film goes beyond the superficial analysis of its subject, because visually it feels alive, with a pastel, almost dreamlike texture, and a camera that allows the characters to exist in silence, to be more than their careful dialogue. The lighting plays an important role in the expression of the characters' minds, like the clue that is removed by the first experience, which, from a spectator's point of view (like Sophie's), makes all the sense in the world. His narrative does not replace the aesthetic, but accompanies it, without in any way overlapping it.

One hour and forty-two minutes condense weeks of experience, years of pain and the innocence of two characters who are nothing more than ghosts to us and to themselves, and all that time is not enough to heal the emptiness Aftersun leaves in its viewers or to dry the escapist tears of those who say they never cry at the cinema. It's a film to live and relive, because your own memories will be there, and it will look more beautiful with every viewing, even if it hurts.

-ˋˏ philocalistherzˎˊ