★★★★☆
Yi-Chiang Lin’s directorial debut is one that stands out for its multi-genre blend. One that, at first sight, feels surreal, because it is.
Lin crafts a drama that is portrayed and directed like a documentary, capturing the story and characters as if they were being documented while blending in a narrative structure.
A style of filmmaking that has been quite popular on the festival circuit this year. Yet nothing quite lands like Aftercare, simply because it’s not a hybrid, but a fictional narrative in disguise.
“Nothing quite lands like Aftercare, simply because it’s not a hybrid, but a fictional narrative in disguise.”
One so well designed, it makes you believe it to be true. Using what are presented as reenactments to bridge the gaps in scenes that were clearly not documented, all framed in the style of a traditional documentary.
Along with directing the film, Yi-Chiang Lin also pens the script, which is heavily character-driven.
Leaving little room for a traditional narrative, the story lingers in the background as an extension of the characters’ identities, creating an unusual blend that finds balance.
The script sets the film up as a documentary, opening with a still shot as the “director” of the documentary explains why they made the film. The film within the film.
An artistic and interesting exploration of art imitating art, with the premise being that the characters are making the very film we are watching.
An interesting concept that allows the film to ask personal and deeply emotional questions while remaining heartfelt, forward, and blunt.
Following our protagonist as he travels to New York in search of his ex-girlfriend from a decade prior, all he has left of her is a blurry, sun-soaked photograph.
Lin sets himself up to explore human emotion, lust, and longing.
“Stripping away the pride, walls, and defenses people put up in fear of rejection.”
Before Sunset explores a similar theme. Jesse writes a book in hopes of finding Céline, a woman he met nine years earlier and spent one evening with. Someone he was supposed to meet again six months later at the same train station where they said goodbye.
The difference is that Before Sunset asks those personal and emotional questions through characters who represent lost connections, missed opportunities, and memories of people from our past whom we never got closer to.
Lin crafts the story to be more direct and open, stripping away the pride, walls, and defenses people put up in fear of rejection. Chou’s character isn’t facing rejection; he’s facing the abyss of uncertainty.
The direction is where the story comes to life. The script crafts an intriguing concept that could play out in many different ways.
Lin takes a slow, steady, but consistent approach, allowing each scene and moment to linger.
Which at times makes the film feel as though it is standing still rather than moving forward.
Something that embodies the tone and spirit of the character, bleeding over into the film in the best possible way.
“Chou’s character isn’t facing rejection; he’s facing the abyss of uncertainty.”
It’s Lin’s attention to detail that captures the hopeless feeling of eternal dread. The longing that consumes and fails to dissipate.
Lin’s decision to shoot the film in black and white, using only one sequence in color, adds depth while helping establish the tone.
With crisp cinematography, the camera often feels close and personal. Wide shots are used throughout, allowing the film to breathe while emphasizing distance.
Aftercare is an insightfully crafted drama that brings depth to its story through its documentary-inspired approach.
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