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In the aftermath of the death of a loved one, there is no “right” way to grieve. Some of us choose to keep our sadness to ourselves, while others choose to talk about it or express it in creative ways with those around us. Either we move forward or we don’t. We take comfort in the small signs that they may still be with us in some way, or we put their memory to rest somewhere in the recesses of our minds, but we never forget them.
Paul Harrill’s gentle drama “Light from Light” introduces a paranormal investigator and single mother named Sheila (Marin Ireland) to a widower, Richard (Jim Gaffigan), who is struggling to come to terms with the recent death of his wife in a plane crash. Her presence is felt by him, but he is unsure of it, and his questions have stumped his parish priest, Father Martin (David Cale), who in turn invites Sheila to assist him. They will work together to determine whether or not there is a spirit in Richard’s home and, if there is, they will attempt to provide him with some sense of closure, whatever that may entail. The difficulties of young love between Sheila’s son Owen (Josh Wiggins) and his earnest girlfriend, Lucy, are intertwined with the problems of grown-up relationships (Atheena Frizzell).
When the adults are dealing with the heaviness of their situation, this young love serves as a kind of narrative counterweight: it is a love that was cut short by death but continues to exist in memory. By following Harrill’s quiet guidance, they are all learning how to navigate their way into this new emotional space. Many scenes feature emotions that are written on the faces of the actors but are not spoken, such as when Sheila is unsure of what to say to a grieving widower who has turned to her for answers or when her son challenges her parenting. In many scenes, emotions are written on the faces of the actors but are not spoken. Owen is the one who is initially concerned about being hurt if he falls in love with Lucy. Then, as he begins to relax, his mother attempts to intervene in an attempt to save her son from whatever heartbreak may lie ahead. However, some emotions, whether positive, negative, or confusing, must simply be felt.
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Richard Harrill, the film’s writer/director/producer, is not as interested in the supernatural elements as he is in the story’s few main characters. There’s a lot of room for emotions to breathe and wash over the characters in this film, but it never goes overboard in that direction. A muted portrait, quietly restrained in some ways that may feel restrictive, but remarkable in how far the actors are able to take these emotions without overacting in others. Ireland and Gaffigan deliver incredibly nuanced performances as characters who are hiding a great deal more pain than they are letting on with their faces. For Richard, it may be simple to understand why he is upset, but no amount of words could adequately convey what he is experiencing. As for Sheila, she appears to be feeling a sense of adrift and directionless frustration following the end of a relationship that resulted in her having to leave their shared paranormal group. Sheila may be able to close a chapter in her own life as a result of her efforts to assist Richard in finding closure.
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While the characters’ emotional journey is depicted in “Light from Light,” the film maintains a subdued aesthetic. When Sheila and Richard trek up the Smoky Mountains to the crash site where his wife was killed, cinematographer Greta Zozula employs her darkest shades of grey and forest green, enveloping the characters in a somber state of sadness and a sense of loss. However, in a sunny moment not long after, there is an unmistakable warm glow of hope and healing on both the actors’ and the scene’s faces, as well as the scene itself. It’s like wearing a cozy sweater on a rainy autumn day, and the melodic acoustic score by Adam Granduciel and Jon Natchez complements the film’s gentle approach to grief and love like a cozy sweater on a rainy autumn day, striking the right chords at the right times.
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Despite the fact that it takes a long time to get where it’s going, “Light from Light” eventually arrives at its destination. For a film about grief, it’s surprisingly balanced; it’s not overly melancholy, heavy, or existential, but it’s mostly pensive and thoughtful. It is during those quiet scenes between characters that the audience can fill in the blanks of the unclaimed screentime with their own self-reflection. Moreover, they serve as a reminder of how unaccustomed we are to such silences and how awkward it feels when we don’t know what to say to comfort someone who is grieving. However, most of us never spend enough time listening to one another, even during awkward silences, which makes “Light from Light” a tender lesson in the importance of paying attention to and observing one another.
For more personality quizzes check this: The Space Between Us Quiz.
