Hereafter, yet another outstanding film from director Clint Eastwood (he’s directed only first rate films since 2003’s Mystic River), centers on three people (Matt Damon, Cecile de France, twins George and Frankie McLaren) whose lives have all been deeply affected by death. Although the story features a tsunami that nearly kills a French anchorwoman named Marie (de France), most of the film is a meditative drama on how we deal with loss and our own perceptions of the afterlife.  It’s pretty heady stuff to tackle, but Eastwood’s understated approach is the perfect match for Peter Morgan’s (The Queen) evocative screenplay.

George (Damon) is a blue-collar guy in San Francisco who has the ability to speak with the dead, and it’s a talent that he doesn’t want to share with anyone.  He finds comfort reading Charles Dickens novels after a long day’s work, and even though his brother (Jay Mohr) urges him to use his ability for financial gain, George plans to turn the page and start a new life. When he joins a cooking class and gets paired up with a San Francisco newbie (Bryce Dallas Howard), a potential relationship could blossom, but only if he keeps his secret under lock and key.

When Marcus (the McLarens play both boys) loses his twin brother Jason to a car accident in London, his life is shattered.  Jason, born 12 minutes earlier, is the stronger of the brothers, and Marcus is adrift without his sibling, wearing his brother’s cap as security blanket. He meets with mediums and psychics to connect with his late brother, but all he encounters are charlatans looking for a quick buck. That is, until his inevitable meeting with George.

With Marie, her near-death experience in Southeast Asia leaves her with more questions than answers, but unfortunately her new outlook doesn’t mesh with her TV producer/boyfriend (Thierry Neuvic), and she decides to take a leave of absence from her high profile gig.  Once a passionate newshound who loved digging at the heart of a story, Marie is listless and unfocused, a lost soul in need of a spiritual quest.  After writing a book about her journey, she heads to London, where George has traveled to check out Charles Dickens’ residence.

Peter Morgan penned the screenplay after losing a close friend, and although death is a driving factor for all three individuals, they want to break away from their solitude and reconnect with life, even if it means leaving a few spirits behind.  The film’s happy ending is a bit forced and out of place, but after what George, Marcus, and Marie have been through, a little shelter from the storm isn’t such a bad thing.

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posted by Greg Srisavasdi