Tragedy strikes a family of four when the train they are travelling in meets with an accident and separates them from each other.
I understand that this would have been consistent with the language used by that generation, due to its role in the medical profession, however as someone who has family members with Down Syndrome I took it very personally.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
“Synchronic” is special, but it doesn’t succeed in achieving all the objectives it aims for. The film is a science fiction oeuvre which tries to be cerebral at some points, although the original idea is interesting, it only accomplishes to talk about some serious matters superficially.
While subverting the conventions of Golden Age cinema with the characteristics of a slasher, Pearl studies the delusions of grandeur inspired by the movies.
