Father-daughter story uses dementia as a window into a man’s regrets and uncertainties, writes Chris Knight
Never let it be said that writer/director Sally Potter chooses the easy path. Her last film, 2017’s The Party, was shot in black and white and told a complicated story of seven longtime friends in just 70 minutes, opening and closing on the same shot. Yes, from 2004, was written entirely in rhyming pentametric couplets, like a 90-minute Shakespearean sonnet.
To say that Leo’s thoughts are wandering would be an understatement. A chance word or a sudden noise can suddenly shift his perception. One moment he’s at home with his personal care assistant, or in a taxi with Molly. The next he’s remembering time spent with Dolores in his native Mexico. Or he’s back in Greece, where he once lived in solitude, writing.
Here, his dementia gives him the ability to travel through the space and time of his own life, while those around him try to make sense of his actions. Molly has the most patience in this regard, angrily asking her mother, Rita: “Why does everyone continue to refer to dad as ‘he’? As if he’s not here?” Mom shoots back: “Well, is he?”
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