Shadows After Sun

The article examines the complex structure of Aftersun (2022) in view of the similarity between memory and film. It considers the unspoken as the most crucial aspect of the film – when the adult protagonist Sophie tries to get closer to her father Calum with the help of video camera footage of the last summer she spent with him, her attempt is futile. Calum remains unknowable. The analysis divides the narrative structure into three layers; the first is the layer of memories and videos, the second is the layer of Sophie, who tries to connect them narratively, and the third is the unreachable layer of Calum. Their interplay is explained by Jean-Pierre Meunier’s film-souvenir theory and Edgar Morin’s theory, which interprets the relationship between memory and film in an anthropological-sociological context.

The integral version of this article can be found in the printed KINO!