TIFF 2020: After Love
tiff 2020Aleem Khan's After Love on the surface is a thought-provoking and immensely compelling portrait of grief and the unravelling of lies after the fact. It is, however, a film that dips its toes a little too deep in a self-indulgent existential crisis, albeit stays afloat to showcase the ever so strong central performance from Joanna Scanlan.
First and foremost, Khan's After Love screams festival essence. It is an existential character study that pronounces itself as nothing more and nothing less. That is not to say this is a poor or underwhelming effort, nothing of the sort. However, it is precisely the final product a viewer accustomed to this genre would imagine it would be, in any and every form no less. Everything involved here is convicted in a strong ability but, throughout, Khan's film never takes a risk. It never pushes the boat out in its thematic weight or character study.
In fact, After Love is relatively tame how it handles grief. Almost to a staggeringly aggravating and quaint degree. The central plot, while interesting, levels itself out in the most abstaining and tedious method imaginable. A study of grief quickly takes a turn into a mistaken identity. While that might sound invigorating on paper, the truth of the matter is the execution on film is limp and a missed opportunity to dig deeper.
It is a shame, because actress Joanna Scanlan is rather terrific, for the most part, regarding her performance. The transition and fallout from safety and homelife into a state of despair and need to know answers is conveyed in an honest and often delicate response. Scanlan's character begins to wrestle within herself and her religion regarding her betrayal, and the actress brings a brooding mood to the table. But again, Scanlan can only express this character with a specific range when the screenplay and narrative do not have the ability to elevate said portrayal.
The film inhabits multiple – if not a fanatical amount – of generic genre and tonal moments that engulf this picture in what comes across as awards bait. Moments in which Scanlan's character will bizarrely lie down in the sea and be taken away with the waves, only for the film to cut and the character to then be drenched watching the sunset. It is these moments that brazenly take away any and all drive the film is trying to uncover regarding this mystery of sorts.
Granted, the small piece of acknowledgement the film deserves is plaudits for is the cinematography from Alexander Dynan. An element that slowly but surely enraptures the torment and isolation perfectly. Moments of tension and morbidity are presented in an unflinching and chaotic fashion. The world around is moving yet it feels lifeless. Undoubtedly a conscious production design implemented to, once again, reinforce mood but alas is severely let down by Khan's screenplay.
Ultimately, After Love falls into purely having the audience wait for the inevitable contextual reveal the films sets up. Khan's film is a tedious and sadly missed opportunity to raise questions, push the boat and put forward a compelling feature on inner emotional torment.
