Both Anna (Sarah Bennington) and Gus (Mark Byrne) are experiencing a traumatic loss. Anna has lost a parent, and Gus a child–and neither are quite sure how to deal with their struggles. During a lapse in judgment, the married Gus has an affair with Anna–but things go wrong. What he once believed to be a viable option for combating his pain, is not haunting him. As they both return home to their losses, Remorse is nearly the only thing that they are able to feel; and coming to terms with what they’ve done will soon become their greatest challenge of all.
Remorse, in its entirety, is presented to viewers using a split screen. Both Anna and Gus’ stories play out simultaneously, and viewers are able to see what takes place in their respective homes at exactly the same time. There’s a lot going on for sure, but I appreciate the fact that viewers aren’t left hanging at any moment, always in the know, following along. In your standard film or television show, when there is more than one storyline, viewers are often forced to sit and wait as the project bounces between those storylines. That’s normal, and it makes sense, because it gives viewers something to look forward to. In Remorse, Director M. Can Yilmaz makes the decision to keep things short and sweet, rather than dragging out a narrative that takes too long. I genuinely appreciate the fact that I’m never strung along, and that rather than attempt to make this a feature-length film, combing for more substance, Remorse brings both stories to life brilliantly.
I can imagine, however, that choreographing each and every scene to ensure that they match up must have been challenging. There are moments when things feel slightly off kilter, and I mean slightly. These blink-and-you’ll-miss-it moments are few and far between, and they don’t do anything to hinder the film (they are just simple observations I made). With that being said, the challenge that Yilmaz, Director of Photography Oscar Miño, and Editor Ryan Lee must have faced seems to be an afterthought when it comes to the finished product. With the exception of those few moments (one or two at the most), this aspect of Remorse is brilliant.
Having the screen split throughout the duration of Remorse gives this team a unique opportunity. They have the ability to create juxtaposition throughout the entirety of the film–and they do just that. It might be the direction in which Anna and/or Gus are looking, the colors projected on the screen (green and red to be exact), or something else entirely. However, there is always something present on screen (or split between the two) that allow viewers to see differences between the characters and their situations. Again, Yilmaz and his team are given a wonderful opportunity, and I think if they had squandered it, Remorse could have potentially failed (yes, that’s how important this aspect of the film is). They take full advantage, and they deliver a powerful story as a result.
Remorse is so interesting because viewers are able to see multiple perspectives at the same time. As the film plays out and viewers travel through two separate, but connected, stories, they are given a chance to understand everything, all at once. Yilmaz and this team develop something that must have been incredibly challenging, but it’s presented to viewers in a way that’s clear and concise. Remorse is relatable in a number of ways, and each and every aspect of the film comes through with vigor.
Directed by M. Can Yilmaz.
Written by Enrique Pereira.
Starring Sarah Bennington, Mark Byrne, David Sayers, & Penelope Granycome.
⭐⭐⭐⭐⭐⭐⭐⭐½/10
Comments