This alluring debut from writer/director Aleem Khan is set in the heart of Dover. It follows Mary (Joanna Scanlan) who discovers just days after her husband’s sudden death that he has been leading a double life just across the channel in Calais - a life that seems foreign to the one they had shared throughout their loving marriage, for that is what she believed it to be.
Mary (Joanna Scanlan) is a British Muslim convert who is happily married to Ahmed when we meet her. She is integrated into the Pakistani culture, prays five times a day, wears traditional Pakistani attire, decorates her home with framed Islamic scripture, and cooks Aloo Palak from scratch. It is important to salute the incredible performance given by Scanlan, as in the first few scenes of After Love there is little talking, leaving the viewer to rely solely on the facial expressions and mise en scene to help figure out the situation at hand.
The affair is discovered a day after Ahmed’s funeral. Mary is innocently going through Ahmed’s phone and discovers his secret family. Viewers are given the privilege of seeing the impact the affair has on Mary, witnessing her as she wrestles with a growing idea until she finally cracks: she travels across the channel on a quest to discover the truth and seek understanding.
A minimalist theme is consistent throughout the film. Khan has emphasized the importance of less is more. The silence at the beginning is almost haunting. The amazing choice of background sounds is essential in delivering the sentiment of seriousness and sadness. There is very little dialogue throughout, in fact, and obvious reliance on Joanna Sclanlan’s facial expression to guide the way. Mary’s restraint is admirable and viewers are kept waiting throughout the film for her confrontation. Her love for and loyalty to her late husband are constantly on display.
Grief and its complexities are beautifully portrayed. It is seen manifesting itself in many ways. Joanna shows the viewers that grief is sadness, anger, and resentment and so much more as she ignores unwanted guests, ignoring phone calls, and finding solace in prayer and faith. Faith is compromised by the situation but Mary’s resilience and devotion are her guiding light.
A beautiful feature of the film is that it deals with so many themes and issues that are often the centerpiece of other films. The first one being Mary’s heritage. It is important to note that Mary is a white woman who has converted to Islam and had a secret relationship with her husband before converting. The second one is homosexuality. Mary catches her husband’s other son kissing another boy: usually, that would be the whole storyline for another film, but it’s just part of a story with the very human appeal, one which treats its characters as normal and not something to be sensationalized. This gives the characters an identity outside their religion and sexual orientation. One is not defined by that, and it’s an accurate depiction of the society we live in today by Khan, who also wrote the screenplay.
What is also so beautiful is the direction Khan has chosen for his film and its characters. There is delicate handling of each character. The sentiment of anger is not shared. There is a very human appeal. An example of this is Ahmed - viewers are given a loving portrayal of Ahmed. From a directorial perspective, there is no judgment placed.
Praise is also needed for the supporting cast as their portrayal is essential to the storyline but Scanlan’s performance is outstanding and carries the film. A seasoned actor, she has produced a skilled and haunting performance.
The final imagery of the White cliffs and Mary will haunt audiences. Aleem Khan is certainly breaking the barriers for filmmakers of color and it is beautiful to see stories of ethnic origin being portrayed accurately.
Reviewed by: Benita Murinda