After Love (2020)
Country: GB
Technical: col/2.35:1 89m
Director: Aleem Khan
Cast: Joanna Scanlan, Nathalie Richard, Talid Ariss
Synopsis:
The widow of a Pakistani cross-Channel ferry skipper finds messages on his mobile phone which take her to France and a shattering discovery.
Review:
Slow-moving piece about forgiveness and what binds us, spending much of its length charting the various stages of grief endured by the protagonist. The Islamic faith is for once presented for what it is, rather than as a vehicle of constraint, and there is an impressively understated metonymy concerning the Dover cliffs and a bedroom ceiling, which, like everything else in the film, is lent poise by Khan's steady gaze and Alexander Dynan's finely gauged cinematography.
Country: GB
Technical: col/2.35:1 89m
Director: Aleem Khan
Cast: Joanna Scanlan, Nathalie Richard, Talid Ariss
Synopsis:
The widow of a Pakistani cross-Channel ferry skipper finds messages on his mobile phone which take her to France and a shattering discovery.
Review:
Slow-moving piece about forgiveness and what binds us, spending much of its length charting the various stages of grief endured by the protagonist. The Islamic faith is for once presented for what it is, rather than as a vehicle of constraint, and there is an impressively understated metonymy concerning the Dover cliffs and a bedroom ceiling, which, like everything else in the film, is lent poise by Khan's steady gaze and Alexander Dynan's finely gauged cinematography.
Country: GB
Technical: col/2.35:1 89m
Director: Aleem Khan
Cast: Joanna Scanlan, Nathalie Richard, Talid Ariss
Synopsis:
The widow of a Pakistani cross-Channel ferry skipper finds messages on his mobile phone which take her to France and a shattering discovery.
Review:
Slow-moving piece about forgiveness and what binds us, spending much of its length charting the various stages of grief endured by the protagonist. The Islamic faith is for once presented for what it is, rather than as a vehicle of constraint, and there is an impressively understated metonymy concerning the Dover cliffs and a bedroom ceiling, which, like everything else in the film, is lent poise by Khan's steady gaze and Alexander Dynan's finely gauged cinematography.