Available via SVOD Platform IndiePix Unlimited
A teen whose mother has disappeared goes looking for her as apparitions haunt here. Her trip is done with the reluctant assistance of her uncle, making it more emotional for her.
Written and directed by Nicole Midori Woodford, the film is one based on emotions more than action, giving the few characters involved an arc of growth through pain. The film is one of those that will connect completely with some and absolutely not with others. The film’s story is close quarters for most of its runtime, spending extended periods in a car with just the two leads and then outside looking for her mother. The film is built to be emotional and heavy; it’s meant to create discomfort for some and connection for others. The writing works on that front, but the emotional payoff just doesn’t work for this viewer. Granted, had this come out in the early 2000’s, it would have connected better, and the style would have been just right. That being said, this is well written and well directed.
The cast here is limited with most of the film spent with the two leads, either in cars or remote locations. Mihaya Shirata plays Ami, the teenager looking for her long disappeared mother which she does really well. She’s a solid center point for the story and its emotions, she gives her characters layers and layers of angst, grief, sadness, and longing for something she’s never had. She is the perfect choice for the part, giving Ami life and sadness, hope and introversion. She does this effortlessly and with just the right amount of each emotions mixed just right. Masatoshi Nagase plays her uncle, the man who is saddled, against his will at first, with the teenager and who makes peace with her journey which becomes his as well as he finds himself a bit along the way. Nagase plays this part embittered, depressed, sad, and so much more. He’s solidly imbodying resigned sadness. The other members of the cast are there, but so little, it’s Shirata and Nagase who have the attention for the whole film.
The cinematography by Hideho Urata (and team) is stunning at times, making good used of greys and low lights, bringing the sadness and longing into the images, making this film as beautiful as it is emotional. This is how to shoot a story like this one. The editing of course works with this very well, with work by Daniel Hui and Nicole Midori Woodford, bringing the images into cohesion and letting them breathe a little to push the emotions home.
Last Shadow at First Light is an emotional film that would have worked better 20 years ago for this reviewer but is still a very well-made film now with strong performances, good writing, solid direction and cinematography, and a whole crew of talented people giving it their all. This is one of those slow emotional journeys that work when the viewer connects with the lead from the start, bringing them in is how this film wins its audience and makes them feel with the characters.