Tag: Film

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Films

Supernova

Supernova is Harry Macqueen’s second movie. It was both written and directed by Macqueen who spent a substantial amount of time researching dementia and visiting dementia support groups. The film is set against the stunning backdrop of the Lake District and features two very established actors and longterm friends playing lovers coming to terms with a young onset dementia diagnosis. Sam (Colin Firth) is a concert pianist. Tusker (Stanley Tucci) is a writer and his partner of twenty years. Tusker’s beginning to develop the symptoms associated with a rare form of dementia which impacts his spatial awareness and balance as well as memory. I felt more could’ve been made of this fact. At times we see Tusker struggling with balance and fine motor skills but I feel Macqueen could’ve made more of the opportunity to inform his audience that not all dementias are predominantly related to memory loss.

Sam and Tusker have loaded up their camper van and taken off on a road trip across England, revisiting some of their favourite places around the area where Tusker grew up. They also stop to visit Sam’s sister, friends and family in his old home and plan to finish the trip with a piano recital, Sam’s first for a number of years. As the trip progresses it becomes increasingly clear that Tusker’s dementia has progressed to the point where both men must make some big decisions about their future. Tusker has planned to take his own life before the symptoms become too much for him to manage. When Sam discovers this plan, he is utterly devastated and raises some important questions about the nature of care and relationships.

There’s a lot to like here. The scenery is beautiful. The soundtrack is gorgeous. The party scene where Tusker gathers all his friends and family for the final time is a very moving piece of writing. It was fantastic to see a gay relationship explored as a dementia narrative and while I’m still not entirely convinced by the casting of two straight men in these roles, Firth does an admirable job and Tucci is a joy to watch. It was also refreshing to see a slightly more nuanced portrayal of dementia with a nod to symptoms beyond memory loss and linguistic confusion though as I said above, I do think more could have been done with this. 

A few of the scenes were a little cloying. Less said the better about the closing scene where Sam plays his recital while somewhere, off screen, Tusker is supposedly taking his life. The film should have ended before this point. There was no need for an extra layer of schmaltz. I felt the movie rushed the conversation around end of life choices. There was so much more to be said and it seemed quite unbelievable that Sam should change his mind on this massive issue so rapidly. I also really hated the inclusion of a persistent extended metaphor about stars and constellations. It felt clunky and very much like it was trying too hard. And finally, my usual rant. Here we have a successful writer and a successful musician with enough money to make decisions about how they wish to live out the last part of their relationship. There is a notable gap in the world of dementia and film when it comes to exploring the working class experience. I’d like to see some characters who aren’t absolutely loaded for a change.

Saying this, Supernova is a pretty good watch. Catch it while it’s still in the cinema.

Supernova was written and directed by Harry Macqueen and released in the UK in June 2021 

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Films

The Father

The Father is playwright, Florian Zeller’s directorial debut. He co-wrote the screenplay with fellow playwright Christopher Hampton based on his own 2012 play, Le Père. I’ve read and written about Le Père on several occasions. It’s an important dementia text in its attempts to allow the audience to see the world through the eyes of someone living with dementia. It is a disorientating, confusing experience but also an incredibly powerful one and none of these sensibilities have been lost in moving the play to the big screen. Though the film still feels reminiscent of a stage play -most of the scenes take place within a handful of rooms- Zeller uses the set to his advantage. The London flat in which the film takes place changes subtly throughout: colour schemes blend, furniture moves and is replaced, and the flat’s layout is almost impossible to comprehend. As in the play, Zeller uses the physical environment of his set to convey a sense of disorientation. It is a very effective technique.

The storyline is a simple one. Anthony, (played impeccably by Anthony Hopkins who received an Oscar for this role), is an older man living with dementia in his daughter’s flat. The daughter, Anne, also beautifully played by Olivia Colman, (honestly this is the cast of dreams), is her father’s sole carer and increasingly distressed by the progress of his illness. Anthony runs through a series of in-house carers. He struggles to get on with anyone. He confuses time. He mistakes Anne’s flat for his own and most worryingly sometimes does not recognise Anne or her husband, (a rather mean, Rufus Sewell). Zeller uses different actors to show the audience what Anthony is seeing when he adamantly insists that this strange woman is not his daughter and this strange man isn’t married to her. The technique is so effective and unsettling that I began to feel as if The Father might be classified as a horror movie. Several of the tropes were present. The domestic familiar made threatening. The oppressive lighting and use of colour. The constant undermining of reality. The set, in particular, reminded me of the house in the Australian horror film The Relic where walls move and doors disappear, mirroring the confusion of a person living with dementia. 

The Father is a difficult watch. It’s beautifully executed and almost perfectly acted by all involved. As an experiment in empathetical viewing it’s really ground-breaking. The viewer is pitched into Anthony’s shoes and spends the following 90 minutes as confused and disorientated as he is. However, there’s little in the way of character development. Aside from a small backstory about his dead daughter we discover very little about Anthony as a man who has lived a long life. For the purpose of the film, he is simply a man with dementia and at times I found this a little reductive though I don’t think Zeller’s intention is to provoke sympathy or even soft empathy for a fully-developed Anthony. He wants the viewer to see the world through the eyes of present day Anthony where dementia has become his dominant narrative. I also appreciated the inclusion of both the examples of elder abuse, (from Anne’s husband), and professional care staff treating Anthony with exemplary kindness and dignity. This is a nuanced portrayal of caring which shows both the worst and best aspects of the care system. One last small point of critique. The characters in The Father are very posh and capable of spending enormous amounts of money on professional care for Anthony. It would be nice to see more examples of working class characters navigating the care system. As frequently noted, there is a distinct lack of diversity when it comes to portraying characters living with dementia. 

The Father was directed by Florian Zeller and released in the UK in June 2021 

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Films

The Savages

The Savages is a 2007 black comedy set on the East Coast of the USA. It stars Laura Linney, the late great Philip Seymour Hoffman and Philip Bosco and was directed by Tamara Jenkins. Linney and Seymour Hoffman play brother and sister Jon and Wendy Savage. It’s fair to say, they’re both already struggling a little when they receive a call to tell them their father, Lenny, who’s living with his girlfriend in Florida has developed dementia. When the girlfriend passes away, Jon and Wendy suddenly become carers for their dad. They are not particularly close to their father. Neither has happy childhood memories from the period after their mother abandoned them. Caring doesn’t come naturally, but they’re determined to help their dad as much as they can.

Jon finds a place for Lenny in a residential care facility close to his home in Buffalo. There’s a heart-breaking scene where Wendy accompanies a confused and increasingly distressed Lenny through the airport and on to the plane as he relocates to the East Coast. Much is made of the fact that he doesn’t even own a winter coat. The Savages chooses to fix its gaze on Lenny’s children, rather than his experience of dementia and residential care. However, there are a number of truly poignant scenes where Lenny reacts to a memory test and is asked to help plan his own funeral arrangements which I found uncomfortable viewing though very recognisable. The film’s main focus seems to be an in-depth exploration of what it feels like to find yourself suddenly a carer for a parent who’s developed dementia.

Seymour Hoffman and Linney are fantastic, as you can imagine, playing a pair of dysfunctional creatives who were already struggling to embrace adulthood and are now navigating an increasingly complex set of responsibilities. There’s not much comedy in this black comedy and it is, at time, a difficult watch. However, I found it incredibly honest and it raises some very important questions about the nature of duty when it comes to care. I also found a few moments where Jenkins allows hope to bubble to the surface and in the last ten minutes of the movie there’s reason to believe the Savage siblings have been positively changed by their experience as carers. I’d recommend this film. It’s so well-written and perfectly acted. It left me with a lot to think about.

The Savages was directed by Tamara Jenkins and released in the UK in 2008 

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Films

Away From Her

Canadian director, Sarah Polley’s Away From Her was one of my first encounters of a dementia narrative on the big screen. Polley wrote the screenplay based on Alice Munro’s beautiful short story, The Bear Came Over the Mountain and was determined from the outset to cast Julie Christie in the lead as Fiona, a smart, passionate woman who is enjoying her retirement until she’s diagnosed with Alzheimer’s. We follow Fiona and her husband Grant (Gordon Pinsent), along a familiar journey from slight confusion, to wandering, a diagnosis and memory test and finally the moment where Fiona herself decides it’s best if she moves into a residential care facility.

It’s refreshing to watch a film about dementia which focuses on a couple’s relationship. Away From Her is frank in the way it deals with issues around sex, intimacy and separation. We see Grant and Fiona making love for the final time on the day he moves her into the care facility. He’s heartbroken by the mandatory 30 day no contact policy. They haven’t been apart in more than forty years. By the time he returns to visit Fiona, she’s no longer clear about who he is and she’s developed a close attachment to another resident; a man called Aubrey (Michael Murphy), whom she’d been friendly with as a girl. Grant is now faced with a dreadful dilemma. His wife is only happy in the company of another man. Any attempts to separate them lead to deep depression on Fiona’s part. 

This is a stunningly acted and sensitive exploration of a really difficult issue which occasionally arises in dementia care. Polley gives us an insight into both perspectives, adding layers of nuance when she reveals that Grant is not entirely blameless. He’s been unfaithful to Fiona in the past. It’s also an incredibly accurate snapshot of what residential care can be like. Polley’s quick to point out the profound differences between the first floor, where the cognisant residents live, and the much-dreaded second floor where people are moved when their dementia develops. It’s a familiar and thought-provoking portrait of residential care, raising important questions about dignity, independence and quality of life. Away From Her is also a captivating story with fine performances from the central actors including the always fabulous Olympia Dukakis who’s a star turn as Aubrey’s wife.

Away From Her was directed by Sarah Polley and adapted from Alice Munro’s short story The Bear Came Over the Mountain. It was released in the UK in April 2007

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Films

What They Had

Bridget (played by Hilary Swank), rushes back to her hometown of Chicago after her mother is found wandering, confused in a snowstorm. Her father Burt, (Robert Foster) and brother, Nicky, (Michael Shannon), spend Christmas arguing over whether their mother, Ruth, (Blythe Danner), should be moved into a residential care facility or retire to Florida as the couple had planned. Ruth’s dementia has progressed rapidly. She confuses her children, wanders around the house at night and at one point even makes a pass at her son, mistaking him for someone else. Burt’s reluctant to let his wife move out of the marital home. Nicky’s bluntly adamant that Ruth needs professional care. Bridget sits on the fence, constantly trying to keep the peace and, in the background, Ruth wanders in and out of conversations, talked about, but rarely talked to.

In What They Had, Elizabeth Chomko has captured a very recognisable scene from contemporary American family life. Moving a loved one into permanent residential care is always going to be an emotional experience and Chomko’s managed to include so many of the tropes familiar to this scenario. This film will really resonate with many people who’ve been through a similar experience. This is a family trying to make a difficult decision when there’s no easy solution to the problem they’re facing. For the most part What They Had honestly and realistically explores this distressing situation with a fair degree of warmth and the occasional humorous moment.

Unfortunately, Chomko seems to bottle her nerve towards the end and the final third of the movie resolves too neatly for my liking. Burt passes away quite suddenly. Ruth has a miraculous moment of cognisance where she reassures her daughter that it’s all for the best. He has died at the perfect moment. Any later and she wouldn’t have remembered who he was. Any earlier and she’d have been devastated by the loss. This scene irked me. It felt like a contrived Hallmark moment and completely unbelievable; by this point in the movie Ruth’s dementia was very advanced. With her mother’s blessing and her father no longer around to raise objection, Bridget and Ruth road trip out to California, (Thelma and Louise style in a Cadillac), where Ruth takes up residence in one of those flowery, sunny, quaint care facilities where everyone’s content and smiling. It’s as close as you’re going to get to a happy ending in a movie which centres around dementia. It didn’t work for me. The first two thirds of the film are pretty decent (with stand-out performances from Danner and Shannon), everything goes downhill from there.

What They Had was directed by Elizabeth Chomko and released in the UK in May 2019 

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Films

Falling

Falling is actor, Viggo Mortensen’s debut effort as both a writer and director and it is a stunning accomplishment. Mortensen casts himself as John, a successful pilot, living in California with his husband and their adopted daughter. The movie begins, (in quite shocking fashion), with a scene on a plane. John is flying home from the Midwest with his father, Willis, (Lance Henriksen), when the older man’s dementia causes him to forget where he is and create a scene. Willis is in California to look for a smaller property as he transitions away from the large farm he’s no longer capable of looking after. However, nothing goes to plan during his visit: he manages to offend his daughter, played by Laura Dern, forgets he’s agreed to move house and is so belligerent and offensive he insults almost everyone he comes into contact with.

The film moves backwards and forwards between contemporary time -where Henriksen does an incredible job of portraying an older man who is stubborn, angry and ultimately afraid of losing his own autonomy- and the past -where Sverrir Gudnasson plays a much younger version of Willis who is not yet living with dementia but is equally stubborn, angry and intent upon wielding his authority over his family. Mortensen’s portrayal of John is notable for his forbearance and his measured approach to his father. He maintains the same patient demeanour throughout as his father rages, delivers homophobic and racist insults and humiliates him at every turn. Mortensen’s compassion is so marked it makes the moment when he finally loses his temper -railing against his father for years of abuse- one of the most powerful scenes in the film.

It’s so refreshing to come across a narrative which explores the difficult subject of how to care for someone who is not nice and never has been. This topic is rarely covered in books and movies though, in my experience, it’s reasonably common to find someone caring for a family member who has dementia despite a fractured or even abusive relationship. Mortensen handles the material with sensitivity, but he’s also unflinching when it comes to including the harrowing details. I also appreciated the way he resists stereotyping Willard. Yes, this man is a horrible, racist, homophobic, misogynist but he’s also fond of his granddaughter and displays genuine affection for her. This is a difficult watch but a necessary one. I’d thoroughly recommend checking it out. 

Falling was written and directed by Viggo Mortensen and released in the UK in February 2021