Written and directed by Joseph Millson, Anne attempts to shift her outlook by taking herself on holiday. But on arrival she is met with danger. A chance encounter with another traveller offers an unexpected solution, which could heal or crumble their lives completely. Starring: Sarah-Jane Potts and David Ganly.
If you’re a person who needs clear cut answers from a film, then Signs of Life is not for you because it does not exist to answer every question, it’s an exploration of grief, struggle, and ultimately, humanity. Very quickly we get examples of the general lack of compassion that can be found in the everyday world today. That sets such a great, compelling tone, building a tense and taut atmosphere. It encompasses how cautious and anxious Sarah-Jane Potts’ Anne is, how she’s basically white-knuckling her way through this experience of loss.
That’s why it’s so fascinating when she’s paired with David Ganly’s Bill, because his struggle is entirely the opposite and he’s loudly compensating, while breaking on the inside. It’s that classic formula of film to bring two entirely different characters together to push them where they need to go. Joseph Millson’s writing is superb to capture the evolution of their friendship and its very meaningful nature. It’s a touching story, it has a nicely casual, organic sense of humour and holds a genuine, deep sadness.
Something that’s elevated further by Millson’s direction, he makes a lot of clever choices for Signs of Life but the most noticeable is how he uses Anne’s written word. For the most part, it’s not a case of she writes something down, as she doesn’t speak, and they immediately cut to what she’s written, it lets you figure it out from the other person’s reaction. It’s such a thoughtful choice as it’s asking the audience to use their own intuition and sympathy, something that’s absolutely key to Signs of Life. Millson’s framing choices are also excellent, there’s some fantastic location choices and it’s topped by a strong score from Anne Dudley and Peter James Millson.
Another key factor to the charm of Signs of Life is the sincere sweetness that it holds, emanating from the budding friendship between Anne and Bill. Sarah-Jane Potts gives this terrifically hesitant performance, one that’s split between her character’s experience of loss and the general experience of being a woman travelling alone. It’s filled with anxiety and distrust, and quite rightly so, she adds a great deal of tension, in a quiet manner. Representing this fracture within her, that perhaps might find its way to begin to heal with a little help from a kind stranger.
Wherein comes the bubbly, friendly and generous David Ganly, who is such a wonderfully sensitive character but also has his flaws. Ganly gives such a relatable performance, he’s a lost man, filled with anger and frustration, occasionally letting it get the better of him. Together the two of them have a truly touching connection. Watching them bond over utterly simple acts of compassion is surprisingly satisfying. It’s a complex relationship, one that’s very real and is never purely smooth sailing.
Signs of Life is a reserved yet charged exploration of struggle and compassion, how simple acts of humanity and decency can make all the difference. Joseph Millson does a wonderful job of capturing the power of human connection, the meaningful nature of finding support, even in unusual places and unconventional ways. Sarah-Jane Potts and David Ganly are a dream, the friendship they create is exceptional, sweet and utterly moving to watch. Millson’s directorial style is strong and thoughtful, there’s a compelling atmosphere, and it’s a confidently put together film that has a real focus on communication and sympathy.
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