Written by Taylor Baker
Playwright Florian Zeller’s directorial debut The Father an adaptation of his own play is an exquisite demonstration of tone management and trusting of central players. There is no gawdy tricks, nor leaning on tropes. From start to finish The Father is exactly what you see it as. Confusing, scary, loving, and sad.
Wonderful turns by Olivia Colman, Imogen Poots, and Rufus Sewell cement the ever changing world that Hopkins encounters. The deft balancing of the preceding players is remarkable, them together with an understated brief performance by Olivia Williams end up mixing together as the beating heart of this thing you take with you. It’s a story to be sure, and Zeller is masterful at telling it. But the very unreliability of it, make the people Hopkins leans on the reality of the piece. Likewise they are the keystone’s of the film that the audience will assuredly carry away with them, unable to explain the film without bringing them to central focus.
We don’t know what happened to Lucy and by the end it doesn’t quite matter. But if you like me found yourself continuing to think about it. Then perhaps we can agree this isn’t just deft storytelling, this is mastery of structure. This is one of the most fully formed voices I’ve seen spring into the film medium this year. More exciting than this project, is the promising future that Florian has. I can’t wait to watch that future in theaters instead of at home.
–Taylor Baker originally posted this review on Letterboxd 10/21/20
The Father is part of the AFI Festival 2020 line up.
AFI Fest Website: https://fest.afi.com/