AFTER SUN
One of the most surprisingly intimate NYFF60 films centering on a father-daughter relationship, Charlotte Wells‘ AFTER SUN, hits you square in the chest, over and over. Eleven-year-old Sophie and her father, Calum, go on their annual holiday. A resort in Turkey is the backdrop of a screenplay that has three distinct narratives playing out simultaneously. And by that, I mean AFTERSUN is a coming-of-age film, a story of depression and the unbreakable bond between a parent and their child.
It is quickly apparent Calum is struggling with his mental health but attempts to make the most of his time with Sophie. Like most kids, she is keenly aware of her father’s tendency to please, regardless of his financial circumstance. Their vacation, while average to Sophie, proves to be their last.
The film utilizes camcorder footage. Sophie is behind the camera. The film’s cinematography also lends to the intimacy, with close-ups of hands and faces, as well as the use of reflections, in everything from mirrors to glass doors and television sets. Besides the fantastic costumes marking the 90s, the soundtrack makes it loud and clear while subtly enhancing the story. Carefully chosen tracks like “Under Pressure,” even though it’s from 1981, speak volumes.
There are moments in the film that appear unusual until you realize the larger picture. Calum frustratingly attempts to teach Sophie a self-defense technique that feels inappropriate for her age. He is unbothered by her confession of a first kiss and more focused on the fact that she felt comfortable sharing about her life. He offers her a sip of beer. What draws us into the screenplay is an intoxicating mix of awkward moments juxtaposed by a relationship one strives to have with their offspring. The care Calum expresses, the time feels weighted and invested.
Paul Mescal is extraordinary. The emotional highs and lows draw you into the film. If you’re a parent, they also cause concern for Sophie’s well-being. Frankie Corio is a revelation as Sophie. She is funny, spontaneous, observant, and fearless. Mescal and Corio share an onscreen bond that feels genuinely familial. If you didn’t know better, you would swear this film was a documentary. Charlotte Wells has given audiences an exquisite gem in AFTERSUN. You must seek it out.
Karam’s use of sound, in particular, makes 
Beanie Feldstein
The Humans
This teen thriller is so well written and acted that the foreboding behinds immediately and never lets up. Nothing good can come of white boy rage and resentment. But a whole lot of great can come from a brilliant young cast of this caliber. Jaeden Martell is captivating as younger boy scout brother Alan. There is something truly special about this young man’s ability to fill a frame with a powerful silence. Older, sort of ne’er do well brother played by Keean Johnson is a dynamic foil for Martell. Fueled by equal parts passion and pride, he inadvertently puts both boys’ lives in jeopardy. The other two young men that keep these brothers deeply mired in danger are complete opposites of one another. Daniel Zolghadri gives a phenomenal performance as Smitty, playing somewhere between a mob rat and a boy who is terrified to feel rejected. The fourth and certainly most brutal of the bunch is Red. Alex Neustaedter utilizes a physical and emotional volatility that is truly unsettling. You will keep one eye on him at all times because you know nothing good can come of his angry townie attitude. These four boys try to avoid getting caught robbing summer tourists but deceit leads the group down a deadly path. Writer-Director Kevin McMullin has crafted a real thriller. The cinematography is beautiful. Existing in a time driven by greed and favoring the elite, Low Tide proves that human nature reveals its flaws just as easily among children as it does adults. This film undoubtedly brings unsettling intrigue and true noir.
First Cow
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Emma Roberts plays a mysterious young woman who is clearly troubled. It’s an unglamorous role but suits her well. She is, as ever, riveting on screen. Having watched Kiernan Shipka literally grow up on Mad Men, we find her in a role that’s totally unexpected and truly scary. The progression of her character is unhinged. Fun fact: Shipka has a hauntingly gorgeous singing voice. The script’s dynamic is engrossing and the concept of two stories colliding keep you consistently alert. The uncomfortable moments and there are many, will keep you on the edge of your seat long enough to get to the weird (in a good way) ending. The location screams typical New England boarding school. The winter weather adding to the gloom and darkness of the impending doom. The Blackcoat’s Daughter will stick with you in a disturbing way long after the credit roll. 
Writer/Director Mike Mills knows women. He appreciates the ins and outs, the nuances of age and stage and the humor in everyday life. Annette Bening asks one of her tenants Abbie, and son’s high school aged best friend, Julie to teach him how to be a food man. Since his father is out of the picture and mother Dorothea has trouble keeping an age appropriate man around for long, she had enlisted help. thankfully she has been thus far successful in raising an open-minded and perfectly curious boy. His inspiration for exploring the world is only enhanced by the eclectic females he is surrounded by. The film is funny and sweet. It’s a bit if a time capsule and yet somehow remains timeless in the theme of self discovery. The transitions are like colorful music videos mixed with punk music from Talking Heads and Black Flag.
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