WATCH THE TRAILER HERE
WATCH THE FILM HERE
First, the Recap:
Can we ever truly let go of loved ones, no matter what the circumstance or scenario? The times are filled with utter misery, yet, we find a way to take hold firmly to those who allow us to weather the storms. At this point, nothing will stand in our way, nothing will separate us, nothing shall come between. In the far-flung woodlands of 1840’s Canada, there stands a lone log cottage, tiny and unimposing against the tall trees and vegetation-strewn forest floor beneath them. Inside, Henry (Julian Nicholson) carefully and quietly attends to his wife Grace (Dawn Parylo). It is a labor of love that has lasted through the harsh conditions and incidents that drove them from their original homeland.
Attempting to maintain his sense of normalcy in doing mundane but necessary duties, Henry’s unsettled but idyllic existence is suddenly shaken by the unannounced, and not entirely welcome, arrival of his brother James (Simon William Donaldson). Unwilling to divulge the true nature of his own goings-on, Henry nervously sits down with his brother to recount former days, current exertions, and the tangled mess James has once again made of his life, all the while advising Grace is away. But, the longer James stays, the more agitated Henry becomes, and once a certain moment arrives, it becomes a harbinger of choice that Henry must face that will determine his future peace or stunning revelation.
Next, my Mind:
Burning with deeply-rooted, aggressively visceral, unapologetically blunt, blistering intent, writer/director/co-producer/editor Shaun Hughes’ 25-minute excursion into the depths of one man’s intense love and faith towards his wife and, honestly, life itself in the midst of an uncompromising fight with his own inner pain and the wilds around him is no light-hearted matter. Very much recalling the moody, menacing stylistic tones of modern period films like “No Country For Old Men”, “There Will Be Blood”, and the like, the narrative unfolds with fierce, undisguised edge while yet managing to supply a sense of sympathy and desire for hope in regard to Henry’s true heart and motives behind his actions. The beautiful, award-winning cinematography shines here, emphasizing the melancholy air the film carries.
Nicholson is absolutely fantastic as Henry, totally embodying the portrait of a man whose apparent daily engagements involving a steadfast, unwavering, whole-hearted devotion in love displayed to another is likewise paired with his now-inherently savage will and aim to protect this “peace” at all costs, even when is own inner strife might threaten to unhinge him further. Donaldson as Henry’s wayward brother James is yet another picture of overt dysfunction and poor choices, though his own dedication/concern to and for Henry and Grace’s well-being would speak to some level of compassion and loyalty to family that might not be immediately evident to most who might meet him. The tense sequences with the two men together is nerve-rackingly excellent, and the lead-in to a highly volatile yet affecting situation.
Parylo as Grace is a serious study in subtle yet amazingly powerful acting, since the very nature of the character itself is so utterly different and, frankly, demanding in its own right. Overall, “No More Shall We Part” is not for anyone looking for just some average drama or high-spirited jovial undertaking. Rather, it will be for those who might desire instead to see a darker yet undeniably engaging tale that speaks to the very essence of undying fidelity and faith executed with ominous, gritty resolve.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
