Breakwater Review – Troubled souls transcend class and age barriers in a stunning visual | Video

TThe debut of his evocative Max Morgan is a very different film. One is the May-December attraction between Otto (Daniel McNamee), a theologian and aspiring violinist, and John (Shaun Paul McGrath), a middle-aged fisherman with a shadowy past. The countries they live in seem far apart. Contrasted with the storm-ravaged Suffolk coast that curves around the seaside village of John, the picturesque halls of Otto’s college in Oxford at the same time large and isolated. Despite their age difference, the two men share heartache and turmoil: both struggle with their sexuality and the death of a loved one.

The highly-crafted animation makes these internal conflicts even more difficult. The camera is sometimes very close to the characters, and shows an anxiety that is not for nothing. From the wishes of a distraught friend to the close scrutiny of the villagers, the film has some serious moments. A lot of emphasis is placed on small gestures – nervous glances, gentle handshakes – to describe the gradual connection of two lifeless souls.

This kind of serious consideration of the images is rare for the first film, although Breakwater also stumbles on a story that causes many problems: in an attempt to carry many things that are of concern – class differences, family breakdown, religious questions – Morgan’s film uses dialogue to show these narrative threads; this results in a rush of excitement and a burst of catharsis that is felt very quickly. However, McNamee and McGrath’s performances contribute to the moments where the script falters. Considering Morgan’s unique eye for photography and landscape shooting, this is a first for sure.