In Brooklyn, New York, Kyra (Michelle Pfeiffer) loses her job and struggles to survive on her ailing mother's income. As the weeks and months go on, her problems worsen. This leads her on a risky and enigmatic path that threatens her life.
An old mining town on the Arizona-Mexico border finally reckons with its darkest day: the deportation of 1200 immigrant miners exactly 100 years ago. Locals collaborate to stage recreations of their controversial past.
Manny, Joel, and Jonah tear their way through childhood and push against the volatile love of their parents. As Manny and Joel grow into versions of their father and Ma dreams of escape, Jonah embraces an imagined world all on his own.
A heinous crime tests the complex relationship between a tenacious personal assistant and her Hollywood starlet boss. As the assistant unravels the mystery, she must confront her own understanding of friendship, truth and celebrity.
Diane fills her days helping others and desperately attempting to bond with her drug-addicted son. As these pieces of her existence begin to fade, she finds herself confronting memories she'd sooner forget than face.
"I'm not one to take my clothes off in a movie," MacDowell recently told The Hollywood Reporter, revealing that she shot her first nude scene for 2017's Love After Love at age 59. "Not that I'm a prude or anything, but I think I grew up in a time where most actresses would get body doubles." "After all of that worrying about taking my clothes off, it didn't even affect me in the least, seeing myself naked. What affected me more was to see how sad I looked. The only reason I could do that is because I know that sadness. That to me made me feel more vulnerable than being naked. It had no effect on me, being naked, which is fascinating." She admitted to I News in another interview that "I wish I had walked around naked in movies earlier. I probably should have taken [it all] off in my twenties. I grew up in a conservative family and, in my generation, most actresses hired body doubles for those scenes. But I had an awakening as to what the human body is, and I didn't want my kids (she has two daughters in their 20s who are actresses) in their acting, to feel any shame about their bodies. I want them to feel safe [doing nude scenes] because I had so much shame projected on to me about nudity as a child. It took me raising my children to finally feel more comfortable about my body." See more »
Love After Love should continue the prepositional phrase forever because the major players in this finely wrought drama are forever looking for love or grieving about it. Matriarch Suzanne (Andie MacDowell) loses her husband and wanders around her two sons almost in a fog of grief but maybe more in puzzlement about how they are working out their fates without her influence.
They are flawed adults, like womanizing son, Nicholas (Chris O'Dowd), who has a conflicted intimacy with his mother but more with himself as he wanders among showing the greatest puppy eyes in cinema. He is an emblem of the players who never seem at peace with their current or future partners.
This episodic, fragmented story, whose jumping back and forth in time is occasionally disorienting, in its unsympathetic way, reveals the puzzle-like lives of sentient beings who witness death, go through its mourning rituals, and search for love, carnal and otherwise, in, it would seem, a hedge against oblivion.
Co-writer/director Russell Harbaugh, in a promising debut, navigates smoothly in rough affective waters, saving the best scenes by interspersing them among some fairly quotidian events that play naturally to the death motif. When alcoholic son, Chris (James Adomian), does a standup about the difficulty of Jesus competing with his Father, the metaphor is not lost but not heavy-handed either. Both sons are struggling to compete with dad and themselves.
Love After Love is a satisfying drama about all of us in families we know have dysfunctional working parts but who are on the greatest quest of all for love after love, after love, after love, forever.
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