WATCH THE TRAILER HERE
First, the Recap:
For the sake of those we love, what are we willing to overlook in order to maintain a relationship that’s deeply valued? This might especially be true as a child when all we’ve known is a sense of brokenness caused by a splitting apart of what was supposed to be a firm foundation relied on and are cared for by. Once this has been torn asunder, we ideally still strive to take in the best of what those involved still offer to us–the love of family. It is the 1990’s, and in Ireland, a young boy named Oscar (Ewan Morris) is having a weekend away with his beloved father Hugh (Steve Wall). Camping, football, and other facets of their bond flourish. But, when the ghosts of Hugh’s past suddenly find their way back into the pair’s holiday, will it destroy that connection or only become a secret they must keep between them?
Next, my Mind:
The ideally unbreakable connection between father and son crashes headlong into the specters of a broken home, parental responsibility, resurfacing addictions, and rationalization accompanied by untruths we tell ourselves, the facades we then construct, and consequently drag others into when trying to salvage what we claim to treasure most through this Oscar qualifying short film from writer/director Lochlainn McKenna and producers Natalie Britton and Gráinne Dwyer. It’s once more the beauty of indie cinema that allows a quite heavy story to be brought to life in a manner that more than deserves notice, contemplation, and awareness-raising consideration, hopefully to be seen by as many eyeballs as possible given the admittedly sad necessity of its messages. The film is bold, unflinching, and straight up candid in its intent, which again is what this critic often feels we need a LOT more of to wake this world up to the need for familial healing and reconciliation in circumstances such as is portrayed.
This effort sees a father and son sharing a weekend of adventure together that SEEMS so overtly innocent but soon begins to slowly degrade into a harsh lesson in the reality of potentially damaging notions of fatherly “love” only residing ON the surface, with a genuine acceptance of what needs to drastically change in his life being pushed down, then exploited to his son’s detriment, and THEN covered up by making a choice to effectively force his son lie about it, ALL while grasping desperately onto what his own actions fractured between them in the first place, past AND present. It really is a gut-punch narrative at its core, even amidst some very endearing lighter moments where all is “well”, and this unabashed intensity that constantly boils under the surface completely draws you in, adding a palpable and rising tension that ultimately explodes and almost makes you wince, whether literally or figuratively, in its purposeful potency. All of his amongst the grandeur of the Irish scenery that is simply breathtaking.
But again, it is this grounded relatability (a facet that indie film thrives upon) which provides the film its strength of resolve and by the time we’ve already witnessed this deconstruction of what appeared to be a healthy relationship, the finale rises up and puts a distinctly powerful, impactful, and wholly forceful conclusion forth that reverberates within you in its heartbreaking reality given all that’s occurred beforehand. Dependence, fragmented ideas of sincerity (putting on that “smiling face” to hide the actual truth!), the need to seek help, a child having to grow up far too fast, questioning who the real parent is in given situation, and the toll physically and mentally falsehoods take on an impressionable young mind all get their screen time through this project. The visual approach was something that stuck out in particular for me here as well, in that it evokes a nostalgic state in the intentional graininess of the images, harkening back to old home movies. It really works to add to the atmosphere of both recollection and sense of longing FOR the “better days” that Oscar is experiencing with his Dad.
Morris becomes still another for this critic in an ever-expanding list of incredibly talented child actors present within the indie film ranks, and this kid takes on a weighty role with absolute vigor, emotional maturity, and a degree of wholehearted passion that defies his age in playing Oscar, a young boy who’s out on a weekend with his father as they randomly travel about doing any number of equally random activities that gives the appearance of enjoyment for him. Yet, the laughs and smiles soon fade as one night in a town they stop at turns into an entirely unmanageable, even possibly dangerous, venture that puts Oscar in a position no child should have to endure while also having to BE the “parental” solution to the mess his father ends up getting himself into at those moments and the aftermath that ensues. It’s such a study in contrasts we’re seeing Oscar’s character encounter, and how beautifully Morris navigates this is an indisputable wonder to watch in its stirring authenticity.
Wall likewise brings about a performance that so deftly embodies the character he’s playing in Hugh, Oscar’s father who we quickly learn looks and initially acts like a nice guy while they’re on a weekend trip until the demons of his past decide to come out when the pair stop in a local town for the night. Suddenly, Hugh has gone from a level-headed and fun-loving father figure to a deceptively angry and otherwise volatile man who’s allowed himself to pull his own child into complete and utter chaos, costing the young boy his joy and replacing it with all-encompassing exhaustion that more than threatens their ultimately fragile bond, despite Oscar’s obvious moments of real adoration and even forgiveness towards Hugh despite his derelict attitude. But, all it really does is fuel Hugh’s panic to “correct” his wayward behavior in a manner that can only lead to further separation in the long run. It’s an energetic performance Wall delivers and he creates that character you often love to hate, deeply effective in showcasing a man on the edge who’s so deeply troubled still yet wants to hang on to what he uses as a lifeline.
The primary supporting turn arrives through Natalie Britton playing Oscar’s mother who we can clearly see isn’t remotely aware of the REAL situation happening when Oscar is away with his father, and might take required action if she did. Additional supporting roles come from Brendan Dunlea, Micky Keating, Tim Landers, Johnny O’Dowd, Ger O’Leary, Rachel & Sadhbh Daly, Padraic O’Neill, Liam Power, Alice Power, David Long, and Joe Walsh. So, in total, “Two For The Road” adeptly explores its title in multiple ways, combining a traditional concept of the phrase with another just as recognizable but not as positive while illustrating the damage that can be wrought when we choose to justify and hide, the people we use to do it, childhood innocence lost, and the wreckage that is left in its wake, especially hard-hitting when it always seems it IS the children that are paying the price for it. Folks, THIS must change. Take a stand. Make the right choices when it comes to your kids’ AND your own well-being.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
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