Review: A Ghost Story

The central image of David Lowery's A Ghost Story is something that may invoke nostalgia or laughter. The classic "ghost" Halloween costume of a sheet with two eye holes cut in it is transformed into a symbol of time passing through the emotional states of grief, loneliness and heartache. Centered by an astounding performance by Rooney Mara, A Ghost Story is likely to be one of the more memorable film experiments you will see all year.

The details of the central couple in the film are purposely left vague, even the characters don't have names. We understand that Casey Affleck plays a musician and that he is married to Mara's character. Early in the film, we get that there is tension around her desire to move and his strong attachment to place, namely the house they live in. Before this gets resolved, Affleck's character dies and then rises as a ghost.

Lowery openly plays with time in the film. We get a stunning long take where Mara eats an entire pie out of grief. It is a powerhouse scene that one rarely sees, something more akin to a live theater experience than a film scene. In other moments, decades seem to skirt by in an instance. All of this creates an intense mood that caused me to contemplate the nature of memory and the mark we leave on a place. Lowery has such a command over this mood, openly inviting the viewer to attach personal meeting to the images he presents. In that way, the sheet with the two eye holes almost represents a blank screen in which we project our own feelings onto.

The film's score by Daniel Hart is one of the best of the year. The use of the song "I Get Overwhelmed" by Dark Rooms is a stroke of genius. The song acts as an emotional catalyst, something the film builds to and releases. This release comes at the mid-way point. From there the film pushes its surreal nature and moves away from the personal to the more esoteric. There is even a moment where the film stops to explain its main themes. It is the worst moment in the film, one that makes you question if Lowery didn't trust his audience to go on this ambitious journey with him without some explanation.

The ending of the film feels like an escape hatch to get out of the narrative construction the film finds itself in. I don't believe the ending satisfies, especially considering the sustained, carefully constructed mood the film has prior to its final moments. This is the only thing holding me back from embracing this as one of the year's best films. Upon a repeat view, this ending could reveal that it is more in-line with what comes before it. I have been unable to shake the film since seeing it and has the potential to be one of my favorite films of the year given a second viewing.

4/5