Charlotte Wells’ directorial debut, Aftersun, is what memories taste like. The film feels like a sunset that rejuvenates your skin and only slightly burns your eyes. It peeks through the curtains, nudging you to catch it before it’s too late.
Aftersun is a film about Calum Paterson (Paul Mescal) and his 11-year-old daughter Sophie Paterson’s (newcomer Frankie Corio) holiday in Turkey. Sophie is a curious young girl who embraces many lenses to view the world. Calum is a defeated young father who works through his emotions silently and tenderly. The film shows us their relationship's evolving nature.
Cinematographer Gregory Oke and editor Blair McClendon arrive at the imagery and pace of the film like two childhood friends racing on bicycles. It is not about the win or the destination; it is about the fallen leaves flying towards the sun remembering what it was like to have its kiss. Calum is similarly revived every time he is with Sophie. She reminds him of all that is good in life. Calum oscillates effortlessly between father, friend and child. His earnestness appeals to his daughter just as much as it does to us.
Sophie doesn’t hold back. She questions, motivates and empathises with her father. She is quick to befriend teenagers, and beat a boy her age at a video game. She also harbours the wisdom to step back. Through the lens of her video camera, she is able to assess the world with maturity beyond her years.
A much older Sophie replays these memories in her home. The videos from her old camera take her back to the dance floor where she would find her father at his happiest. The grown woman discovers that she hasn't missed a beat, she's still there with him.