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Many people approach movies that are described as “tear-jerkers” with caution – the expectation of a prescribed emotional response can lead to resistance. If you’ve heard about Andrew Haigh’s All of Us Strangers, it’s likely been in relation to its emotional impact. A coworker warned me that it would “destroy” me before I watched it last summer. (Is that really meant to entice viewers?) And indeed it did have a lasting effect, not in an aggressive or unpleasant way, but gradually over the weeks and months after I saw it. The memory of the film lingered like a deep bruise when my father passed away last November.
Haigh’s clever and unexpected ghost story is available to stream on Disney+ and other platforms. The film delves sensitively into various emotional points, including grief, loneliness, and queer anxiety. These themes are all connected through the idea of revisiting one’s childhood, a common source for cinematic emotion. In this case, the protagonist, played by Andrew Scott, returns to his childhood home in Dorking and discovers that his parents (who were killed in a car crash when he was a child) are still living there, appearing to be the same age as he is now. This supernatural occurrence allows for a poignant and tortured exploration of the different versions of ourselves that exist as we grow up, and the potential for communication between them. Would the younger version of ourselves, along with our younger parents, recognize the person we have become?
Movies often explore the question through imaginative scenarios, such as the concept of body-swapping, as seen in the typical yet surprisingly enjoyable teen comedy 17 Again (2009). In this film, a disillusioned 37-year-old man magically transforms into his 17-year-old self, resembling the actor Zac Efron. Chaos ensues, but ultimately, he learns valuable lessons about himself and redemption. Time travel is another common theme, as seen in Francis Ford Coppola’s Peggy Sue Got Married (1986), which takes a more serious approach rather than incorporating the wackiness of Back to the Future. In this underrated film, Kathleen Turner’s character is transported back to her teenage years on the night of her high school reunion, prompting her to revisit the choices she made that may have altered her life. Despite the film’s clichéd message about the importance of home, Turner’s skilled performance adds a touch of mature melancholy.
Drop Dead Fred (1991), a black comedy directed by Ate de Jong, has an intriguing plot where a woman (played by Phoebe Cates) returns to her childhood home after her life takes a downward turn. As she struggles through her past traumas, her imaginary best friend (played by Rik Mayall) from her childhood comes back to haunt her. The tone of the film shifts from a light-hearted farce to a darker psycho-comedy, but despite receiving negative reviews initially, it effectively delves into the lasting effects of childhood anxiety and emotional abuse. In Céline Sciamma’s beautifully crafted Petite Maman (2021; available on Mubi and other platforms), the concept of a strange return to childhood is explored through generations. After the death of her grandmother, eight-year-old Nelly befriends her mother at the same age, slowly realizing that her mother is a mirror of her past and future self.
There are other ways to connect the past and present besides using imagination. Isao Takahata’s charming anime Only Yesterday (Netflix), released in 1991, relies on memories to transport the audience. A young woman from Tokyo, who is not yet married, goes on a vacation in the countryside. This triggers a blend of sweet and bitter recollections from her childhood, which highlight the voids in her present life. On the other hand, Charlotte Wells’s acclaimed film Aftersun (2022) weaves together scenes from a sunny childhood vacation and glimpses of a somber, grief-stricken future. In this film (on BBC iPlayer), a daughter eventually learns to accept her father’s flaws. Director Victor Erice, in his emotionally stirring film El Sur (1983; BFI Player), also explores the idea of connecting the past and present without projecting the protagonist into adulthood. Instead, he captures a young perspective on the revelations of a parent’s past.
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The film The Tale, released in 2018, delves deep into the topic of childhood trauma through an autobiographical lens by filmmaker Jennifer Fox. Starring the talented Laura Dern, the story follows Fox’s journey in creating a documentary about children who have been victims of rape, which forces her to confront her own history of sexual abuse as a young girl. Despite the film’s use of metatextual elements, it does not detract from its powerful and emotional impact, reminding us that revisiting our past may not always bring feelings of warmth and nostalgia.
All titles can be rented on various platforms unless stated otherwise.
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Additionally, a recent addition to streaming services!
Road House
(Amazon)
Many people believe that remaking movies with lots of room for improvement is a good idea. However, with the 1989 film “Road House” – a cult classic often screened at late-night movie marathons for its “so bad it’s good” appeal – it’s difficult to determine if the updated version is actually better or worse. Directed by Doug Liman and featuring a dedicated performance from Jake Gyllenhaal as a retired UFC fighter protecting a dangerous Florida bar, the remake is visually impressive and full of intense violence. But does it provide the same level of entertainment?
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Poor Things
(Disney)
After its success at the Oscars, which included a deserved victory for Emma Stone’s bold portrayal, Yorgos Lanthimos’s vivid adaptation of Alasdair Gray’s book combines macabre Frankenstein elements with a relatable story of a young woman’s growth, resulting in an exhilarating viewing experience.
The Structure of a Descent
(Picturehouse)
The advertising for Justine Triet’s captivating and critically acclaimed film, which won the prestigious Palme d’Or award, centers around the question of whether a renowned author is responsible for the death of her insecure husband. However, this aspect pales in comparison to the film’s compelling exploration of complex dynamics in relationships and gender issues.
Source: theguardian.com
