Light of My Life | Little White Lies

Light of My Life

15 Aug 2019 / Released: 16 Aug 2019

Words by Lou Thomas

Directed by Casey Affleck

Starring Anna Pniowsky, Casey Affleck, and Elisabeth Moss

Two people wearing outdoor clothing, one in a yellow and blue jacket, the other in a red hoodie and jacket, standing on a city street.
Two people wearing outdoor clothing, one in a yellow and blue jacket, the other in a red hoodie and jacket, standing on a city street.
3

Anticipation.

Can Casey Affleck cut it as a director?

4

Enjoyment.

A sophisticated dystopian drama with excellent performances.

3

In Retrospect.

Wilderness that’s worth a watch, but it’s still no Leave No Trace.

Casey Affleck directs and stars in this sus­pense­ful post-pan­dem­ic wilder­ness saga.

Casey Affleck makes his direc­to­r­i­al come­back with this dystopi­an dra­ma in which women have been wiped out by a virus. Affleck, who also pro­duced and wrote the film, plays an unnamed father rais­ing his pre-pubes­cent daugh­ter, Rag (Anna Pniowsky), in the wilder­ness. When they see a man pok­ing around their tent in the sod­den for­est, they intro­duce Rag as a boy named Alex. The decep­tion leads them to pack their mea­gre pos­ses­sions and move swift­ly on, fear­ing the news of a girl will bring oth­er men hunt­ing for them both.

Father and daugh­ter live a peri­patet­ic lifestyle, know­ing that any slip up caus­ing recog­ni­tion of Rag actu­al­ly being a girl would cause seri­ous trou­ble, and in all like­li­hood, her mur­der. Through sparse, intel­li­gent­ly used flash­backs, we glimpse the days after Rag’s birth, when her moth­er (Elis­a­beth Moss) reveals a lesion sig­ni­fy­ing the start of the virus and sick­ness inevitably push­es her towards death.

The film, for large parts a two-han­der, steps up into sus­pense­ful home inva­sion ter­ri­to­ry lat­er on, with the pair seek­ing refuge in a dusty, vine-cov­ered aban­doned house. The house has its own sad secrets, stark­ly rep­re­sen­ta­tive of the many oth­er silent homes in a grim world with­out women.

In the final act, Rag and her dad take refuge in his grandfather’s beau­ti­ful old house where three old­er men have set up camp with plen­ti­ful sup­plies. An osten­si­bly safe space, Tom’s Bible read­ings and kind­ly nature do not keep the harsh world out for long. A vio­lent strug­gle with out­siders ends in blood­shed, and Rag grow­ing up in one deci­sive action.

Affleck has stat­ed that, on one lev­el, the film is about rais­ing chil­dren after divorce, with one moth­er being gone mean­ing all moth­ers are gone. Some of the film’s best scenes involve Pniowsky – whose sub­tle, affect­ing per­for­mance shows great matu­ri­ty – row­ing with Affleck in ways which sep­a­rat­ed par­ents and their chil­dren will recog­nise as hav­ing a strong air of authenticity.

There is also the ques­tion of whether the film can part­ly be read as a kind-of cre­ative apol­o­gy fol­low­ing the accu­sa­tions of sex­u­al mis­con­duct Affleck faced from two female col­leagues who worked with him on I’m Still Here back in 2010 (he denied any wrong­do­ing and set­tled out of court). Regard­less of the filmmaker’s moti­va­tions or inten­tions, Light of My Life is a fine piece of work.

With its focus on a father-daugh­ter rela­tion­ship set against an unfor­giv­ing wilder­ness, com­par­isons will jus­ti­fi­ably be made with Debra Granik’s Leave No Trace. While this is not quite up to the stan­dard of that mod­ern mas­ter­piece, it is writ­ten, direct­ed and act­ed with sophis­ti­ca­tion and heart.

The pac­ing and sense of per­il are fine­ly judged, while cin­e­matog­ra­ph­er Adam Arka­paw cap­tures bleak, win­try scenes and tired, for­lorn faces with panache. Moss’ pres­ence, the fer­til­i­ty theme and fre­quent escapes in the snow evoke The Handmaid’s Tale, while oth­ers may be remind­ed of John Hillcoat’s The Road, though this is a less bleak, stodgy proposition.

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