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People often approach highly praised movies that are said to evoke strong emotions with caution, as expecting or predicting a certain emotional response may cause resistance. Andrew Haigh’s film All of Us Strangers has likely been hyped up in this way, with statements like “this film will tear you apart.” But for me, it did exactly that – not in a forceful or unpleasant manner, but gradually, and the memories of it continued to linger in the following months, resembling a deep bruise after my father’s passing last November.
The captivating and unexpected ghost story created by Haigh can now be found on Disney+ and other platforms. It delicately explores a variety of emotional struggles, including grief, isolation, and the anxieties of being queer. These themes are all tied together by a common element in evoking cinematic emotions – revisiting one’s childhood as an adult. In this story, Andrew Scott’s character, who carries the weight of trauma, returns to his childhood home in Dorking. To his surprise, he finds his parents, who passed away in a car accident when he was a child, living there and seemingly the same age as him. This supernatural occurrence allows for a thought-provoking contemplation of the versions of ourselves that we leave behind as we grow up and how they may connect with our present selves. Would the younger version of ourselves and our younger parents recognize us as we are now?
Films often explore the question through fanciful scenarios, such as body-swapping in the teen comedy 17 Again (2009) or time travel in Francis Ford Coppola’s Peggy Sue Got Married (1986). In 17 Again, a disillusioned 37-year-old is transformed back into his 17-year-old self with chaotic but ultimately redemptive outcomes, while in Peggy Sue Got Married, the protagonist is transported back to her teenage years and given the chance to rethink her past decisions. Although the film’s message may be somewhat simplistic, Kathleen Turner’s nuanced performance adds a touch of mature pathos.
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The 1991 film “Drop Dead Fred” directed by Ate de Jong is a black comedy with an intriguing idea. When a woman, played by Phoebe Cates, goes back to her childhood home after facing difficulties in her life, her imaginary best friend from her childhood, played by Rik Mayall, returns to haunt her. The film’s tone moves from lighthearted humor to darker themes of psychological distress, but it’s unjustified to receive harsh criticism upon its release. The film delves into the enduring effects of childhood anxiety and emotional abuse in a candid manner. On the other hand, Céline Sciamma’s “Petite Maman” (2021) expertly explores the concept of revisiting childhood through generations. After her grandmother’s passing, eight-year-old Nelly forms a bond with her mother at the same age, gradually recognizing her as a reflection of her own identity and future.
One does not necessarily need fantasy to connect the past and the present. Isao Takahata’s beautiful 1991 anime Only Yesterday (available on Netflix) relies on memory to evoke a sense of nostalgia, as a single, unmarried woman from Tokyo goes on a trip to the countryside and reflects on her childhood. In Charlotte Wells’s highly praised 2022 film Aftersun, memories of a sunny childhood holiday clash with glimpses of a darker and more grief-stricken future. In this film (streaming on BBC iPlayer), a daughter eventually comes to terms with her father’s flaws. The Spanish director Victor Erice’s deeply moving El Sur (1983; available on BFI Player) also delves into the theme of nostalgia, but instead focuses on a young perspective and explores a parent’s past.
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Jennifer Fox’s bold and personal 2018 film The Tale tackles the issue of childhood trauma head on. The talented Laura Dern portrays the main character, who is based on Fox herself, as she works on a documentary about child sexual abuse and eventually confronts her own experiences. Despite the film’s use of metatextual elements, the emotional impact is still intense – not all reflections on childhood are rooted in happy memories.
All titles can be rented on various platforms unless otherwise stated.
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Road House
(Amazon)
There is a common consensus that it is preferable to remake movies that have potential for improvement. However, when it comes to the 1989 film featuring Patrick Swayze, which has become a cult classic for its unintentional humor, it is difficult to determine whether a revamp would enhance or detract from its appeal. In the newer version directed by Doug Liman, Jake Gyllenhaal portrays a former UFC fighter who works as security at a shady bar in Florida. The film is visually well-crafted and filled with intense violence, but does it offer the same level of enjoyment?
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Poor Things
(Disney)
After its success at the Oscars, which included Emma Stone rightfully winning for her daring lead role, Yorgos Lanthimos’s vibrant adaptation of Alasdair Gray’s novel combines a wild Frankenstein story with a heartfelt exploration of female growth, resulting in a wildly enjoyable experience.
The structure of a decline
(Picturehouse)
The promotion for Justine Triet’s captivating and award-winning court drama focused on the question of whether the acclaimed writer actually killed her insecure spouse. However, this angle is overshadowed by the intricate themes of relationship dynamics and gender issues portrayed in the film.
Source: theguardian.com
