Waves is directed by Trey Edward Shults and stars Kelvin Harrison Jr., Taylor Russell, Alexa Demie and Sterling K. Brown.
Drama/Romance. Released 2019.
Waves follows the experience of a suburban family in Miami as they navigate love and forgiveness.
I had never heard of Trey Edward Shults up until this point. Nor had I heard of the vast majority of the cast, with the exception of Sterling K. Brown and Alexa Demie. However, regardless of the people involved, I was ecstatic to watch this film:
Not many people seem to have seen this film, but those who have seen it seem to completely adore it, and I think I will too. Waves seems to be a cathartic, devastating, epic, emotional and raw drama, one that we haven't seen the likes of in any film this year. Judging by the trailer, it is utterly stunning to look at, with the cool blues of the ocean and the vivid, luminous tones accentuated in certain frames.
...My hypothesis was correct. Waves is a cathartic, devastating, epic, emotional and raw drama. Trey Edward Shults is undoubtedly a director who I will, from now on, be following their every move, because Waves showcases some of the very best direction of the year. The camera movements are so inventive, alive and electric, and combined with the utterly mesmerising cinematography by Drew Daniels, it makes for a truly unique and hypnotic cinematic experience. The camerawork accentuates every emotion Shults intends for us to feel as audience members. Every element compliments every other element from a directorial stand point. The music is as much a character in this film than any other feature. The compilation of music by the likes of Frank Ocean (with an obvious nod to Blonde, one of my favourite albums), Kanye West, Kendrick Lamar, SZA, Tyler The Creator and even Amy Winehouse gives it a really progressive and exciting feel - these artists have forged their own formulas and sounds, much like Shults is forging his own directorial style. This compilation of pre-existing songs combined with Trent Reznor's continuous and low-key but feverish score results in a consuming soundscape. Again, when this all happens alongside the vivacious, vibrant visual depictions of Miami Summer nights, me as an audience member is completely hypnotised. Trey Edward Shults has my attention from here on out.
Kelvin Harrison Jr. is a complete revelation. Having garnered praise for Luce, I knew that he was one to watch, but wow. No spoilers, but this character is in a dark place, and his performance is exhausting. If you know what I am referring to when I say 'the bathroom scene', you must agree. I was rooting for him to win the EE Rising Star Award at the BAFTAs, purely because of that one scene. It helps that he never plays a false note in the rest of the film. If he can top this performance in future films, I think I will be slightly astounded. Taylor Russell, while not having to display as much extreme emotion in the film given the essence of her character, is also a serious name to watch. While Tyler's story is obviously devastating, I found Emily's to be equally so, in the way that she has to deal with Tyler's situation - again, no spoilers. She's quiet, innocent and powerful. Other cast members including Alexa Demie and Sterling K. Brown are also pretty faultless. The cinematography, direction and music make Waves like a dream, but the grounded nature of the writing and performances make us believe in this dream, and this is why Waves is so special.
However, Waves is so-nearly-but-not-quite a perfect film. The structure of the film is not formulaic, and while I appreciate this progressive choice, and understand and am moved by the sentiments Shults was communicating, the tonal shift was too drastic. Because of the lack of conflict in the second half, it felt like an extended epilogue to the climactic and extremely effective sequence at the midpoint of the film. A scene so effective that I was literally shaking... a rarity. Maybe the best-directed scene of this year if inducing extreme stress is a significant factor, not ignoring the fact that 1917 also was released this year. But yes, I did feel that this second half, because of the lack of conflict, was, while still really moving and beautiful, nowhere near as emotionally effective as the first half. What is more frustrating about this is that if anything, I could've done with a bit more in the lead-up to this climax in the context of the film as a whole. However, regardless of this fault, this first half is so perfect and Waves as a whole is so close to achieving this perfection throughout, that Waves is still such a breakthrough for Trey Edward Shults and actually everyone involved. Kelvin Harrison Jr. is seriously mesmerising and its criminal how overlooked he has been this season along with the cinematography. This is a feat in filmmaking and I love it. It hit me in all the right places, and regardless of how I may have done it differently, Shults achieved what it seems he set out to achieve.
I had never heard of Trey Edward Shults up until this point. Nor had I heard of the vast majority of the cast, with the exception of Sterling K. Brown and Alexa Demie. However, regardless of the people involved, I was ecstatic to watch this film:
Not many people seem to have seen this film, but those who have seen it seem to completely adore it, and I think I will too. Waves seems to be a cathartic, devastating, epic, emotional and raw drama, one that we haven't seen the likes of in any film this year. Judging by the trailer, it is utterly stunning to look at, with the cool blues of the ocean and the vivid, luminous tones accentuated in certain frames.
...My hypothesis was correct. Waves is a cathartic, devastating, epic, emotional and raw drama. Trey Edward Shults is undoubtedly a director who I will, from now on, be following their every move, because Waves showcases some of the very best direction of the year. The camera movements are so inventive, alive and electric, and combined with the utterly mesmerising cinematography by Drew Daniels, it makes for a truly unique and hypnotic cinematic experience. The camerawork accentuates every emotion Shults intends for us to feel as audience members. Every element compliments every other element from a directorial stand point. The music is as much a character in this film than any other feature. The compilation of music by the likes of Frank Ocean (with an obvious nod to Blonde, one of my favourite albums), Kanye West, Kendrick Lamar, SZA, Tyler The Creator and even Amy Winehouse gives it a really progressive and exciting feel - these artists have forged their own formulas and sounds, much like Shults is forging his own directorial style. This compilation of pre-existing songs combined with Trent Reznor's continuous and low-key but feverish score results in a consuming soundscape. Again, when this all happens alongside the vivacious, vibrant visual depictions of Miami Summer nights, me as an audience member is completely hypnotised. Trey Edward Shults has my attention from here on out.
Kelvin Harrison Jr. is a complete revelation. Having garnered praise for Luce, I knew that he was one to watch, but wow. No spoilers, but this character is in a dark place, and his performance is exhausting. If you know what I am referring to when I say 'the bathroom scene', you must agree. I was rooting for him to win the EE Rising Star Award at the BAFTAs, purely because of that one scene. It helps that he never plays a false note in the rest of the film. If he can top this performance in future films, I think I will be slightly astounded. Taylor Russell, while not having to display as much extreme emotion in the film given the essence of her character, is also a serious name to watch. While Tyler's story is obviously devastating, I found Emily's to be equally so, in the way that she has to deal with Tyler's situation - again, no spoilers. She's quiet, innocent and powerful. Other cast members including Alexa Demie and Sterling K. Brown are also pretty faultless. The cinematography, direction and music make Waves like a dream, but the grounded nature of the writing and performances make us believe in this dream, and this is why Waves is so special.
However, Waves is so-nearly-but-not-quite a perfect film. The structure of the film is not formulaic, and while I appreciate this progressive choice, and understand and am moved by the sentiments Shults was communicating, the tonal shift was too drastic. Because of the lack of conflict in the second half, it felt like an extended epilogue to the climactic and extremely effective sequence at the midpoint of the film. A scene so effective that I was literally shaking... a rarity. Maybe the best-directed scene of this year if inducing extreme stress is a significant factor, not ignoring the fact that 1917 also was released this year. But yes, I did feel that this second half, because of the lack of conflict, was, while still really moving and beautiful, nowhere near as emotionally effective as the first half. What is more frustrating about this is that if anything, I could've done with a bit more in the lead-up to this climax in the context of the film as a whole. However, regardless of this fault, this first half is so perfect and Waves as a whole is so close to achieving this perfection throughout, that Waves is still such a breakthrough for Trey Edward Shults and actually everyone involved. Kelvin Harrison Jr. is seriously mesmerising and its criminal how overlooked he has been this season along with the cinematography. This is a feat in filmmaking and I love it. It hit me in all the right places, and regardless of how I may have done it differently, Shults achieved what it seems he set out to achieve.
A
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