“It’s very much fiction, but rooted in experience and memory,” says the Scottish filmmaker of her debut feature – a tender, harrowing portrait of a father-daughter relationship starring Paul Mescal and Frankie Corio.
might have heard me weeping at the premiere of her film. “There was someone behind me crying quite audibly,” says the Scottish director, who was still putting the finishing touches to her feature debut,, when it crash-landed at Cannes back in May. She’s been forced to play grief counsellor to scores of traumatised viewers ever since.
my past and present, my hopes, fears and ambitions on a 50-foot screen”. “Be gentle with me,” she seemed to be saying, but a little under two hours later it was the rest of us that needed support, the audience rising unsteadily to its feet for a two-minute standing ovation. Adding another layer to the film’s fractured narrative, Sophie’s memories are interrupted by brief, dreamlike sequences which place her on a crowded dancefloor facing her dad, whose strobe-lit moves look like fearful contortions from apainting. But to feel the full emotional weight of Wells’ film, we need first to understand the touching father-daughter bond at its core, as embodied by Mescal and Corio.
She speaks with a soft Scottish-American lilt in fully formed sentences, something that is vanishingly rare among people of her generation. That lucidity is everywhere inMoonlightCharlotte Wells on the set of Aftersundraws on elements of Wells’ own life, there is a sense of deep personal trauma being laid to rest here.
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