“…most impressive of all is the director’s attention to the timing and application of the smaller details and elements within the film…”
Whilst initially leaving me a little confused with regard to one or two of the slightly more complex elements of the narrative, David Lowrey’s A Ghost Story is nevertheless, a very fine film indeed.
Visually constrained into something akin to a photo slide format – a round-cornered slightly elongated square screen – this is an early hint (and subliminal pointer?) as to the sense of history, the past and of memories that this film skilfully evokes.
A Ghost Story is indeed a ghost story, but not in any sort of conventional sense. Instead, it is told from the perspective of the recently deceased, C (Casey Affleck), who returns, from the mortician’s slab, to the old, history-riddled house in which he and his girlfriend, M, (Rooney Mara) had been living together. Adorned in the sheet that had covered his dead body, two eye holes have been cut from this deathly shroud, revealing nothing but matt, jet blackness.
The ghost of C, unseen, will stand by, a passive reluctant spectator, as the future unfolds relentlessly in front of him, unable to offer comfort in the grieving process of M, and unable to despair when she finally finds someone new in her life and moves on. The ghost of C can merely turn its head to passively survey life from the beyond.
Indeed life continues to unfold unabated all around a spirit that is seemingly powerless to achieve ‘closure’ within its somewhat cursed afterlife, until finally, almost consciously, it takes control of its own ‘destiny’.
David Lowrey’s use of long drawn-out scenes of relative inactivity, whilst on the surface seems a little indulgent and potentially momentum-sapping, but is in fact integral to this film’s flow; a sort of mirroring for the viewer of the ghost’s own sense of frustrations at being a helpless onlooker, unable to offer any sort of meaningful influence over events. Not only this, but such a directorial style offers ample opportunity for the viewer to consider and contemplate not only the film’s poignant narrative and existential overtones, but their own particular history, place and space in time.
Daniel Hart’s wonderfully evocative soundtrack is the perfect accompaniment, wrapping the piece within its own sonically haunting cloak, and drawing maximum affect from A Ghost Story‘s overriding sense of melancholy.
There’s much to admire in Lowrey’s haunting tale, which, whilst admittedly drawing influences from elsewhere, is a piece nonetheless high on originality. But most impressive of all is the director’s attention to the timing and application of the smaller details and elements within the film – so as to knit and tie the increasingly complicated threads of this story together into some form of coherent whole.
With strong, brooding performances from Mara and Affleck, and a fine cameo from ‘Prognosticator’ (Will Oldham), the end result is a wonderfully poignant film that explores the nature of time, and the ongoing quest for resolution and meaning in our lives, and it’s all profoundly moving in a way that surprises as much as it ultimately impresses.