Premiered with great success at this year’s Berlinale, where both of its leading actors were awarded with the festival acting honours; one of the best films of the year finally reaches our screens.
’45 Years’ is a quietly devastating dissection of the end of a lifelong marriage, set one week ahead of the couple’s 45 anniversary party. The stress of the preparations, organized with more apathy than enthusiasm, serves as backdrop for the unfolding events that follow a telegram informing the husband about the corpse of a former girlfriend, disappeared in tragic circumstances during a holiday in the Alps, being found. His erratic reactions will quickly lead her wife towards growing doubts and an unsettling discovery that threatens the basic foundation of their partnership.
Director Andrew Haigh pleasantly surprised us with his former work ‘Weekend’ thanks to his honest depiction of a one night stand that shapes up an early connection between two young men. The finely detailed intimacy of their encounter, opening the gate for a potential relationship, transcended LGBT interest and became one of the cinematic discoveries of 2011. Then he went to direct the sadly short lived HBO series ‘Looking’. ’45 Years’ brings back his masterly touch for observing the veiled gestures and inner emotional shakeup any relationship carries, a distinctive trademark that leaves a lasting impression on the viewer. Described as Weekend’s twin companion, it works as the tail of the same coin. If ‘Weekend’ was about the beginning of a relationship, this one is about the end; the gay couple in the former replaced by a veteran straight one.
Haigh’s new film is anchored by two of the finest performances of recent times: Tom Courtenay, as the ageing husband whose world is shaken by a suspended episode from his past, excels at showcasing the inner conflict between the honesty he owes to her partner, the fear of the impact untold events could have on her and the closure he sorely needs to find. Some of the most moving scenes, including a heartbreaking central speech, belong to him. Even better, arguably the role of her life, is Charlotte Rampling’s strong and composed wife, a former village teacher who’s learned to be content with the diminishing returns her long lasting companionship delivers until those new found developments begin to erode her trust.
About to be rediscovered during the Autumn’s festival circuit, director and stars deserve to become serious contenders for any award worth its salt. ★★★★★
