, the debut feature by writer/director Charlotte Wells, often doesn't feel like a film. It feels like an intrusion into the life of Calum and his daughter, Sophie , as they take a holiday together in Turkey.
But then, it's almost as if the older Sophie is intruding upon her own memories. Seen sparingly, she recalls a final time of untrammeled father-daughter connection on the beaches and in the blue waves, understanding now what her father, quietly, seemed to understand then. These holidays are a tradition, one that Calum seems very aware is collapsing, for too many reasons to list.
There's something of fellow Scot Lynne Ramsay's work to Wells' depiction of their crumbling relationship, her willingness to indulge in symbolism and metaphorical unrealism , and the exploration of pain, how we ignore it or embrace it but must inevitably make peace with it. While many filmmakers aspire to what Ramsay does, Wells' greatest achievement is in feeling like a kin to her intimate, sometimes ethereal work.
Wells also catches a mood and an era: Late Nineties mournful Britpop and easy dance tunes play in the background, the kind of music an out-of-season Turkish resort appealing to British holidaymakers would play, Catatonia sliding into Blur sliding into"Macarena.
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