Directed by Sophie King and written by Kate Radcliffe, after their son is stillborn at 24 weeks, Jess navigates an unexpected form of motherhood marked by silent milestones and uncomfortable social encounters, while Max struggles to hold their family together through grief. Starring: Ophelia Lovibond, Jacob Anderson, Jordan Alexandra, Alex Bhat, Kerry Davies, Henry Lawfull, Felicity Montagu, Phoebe Pryce, Declan Rodgers and Benjamin Salmon.
People in general can always use a reminder of the importance of minding what you say and being actively sensitive to what others are going through, but that applies even more so when it comes to loss. One of the great elements of Kate Radcliffe’s writing with Still Life is how it captures the endless triggers for someone who experiences the stillbirth of their child. That almost impossibility to avoid any triggers, added to the constant lingering risk of facing questions from friends, family and acquaintances, either about the baby or about the loss, creates a genuine, strong intensity.
Sophie King’s direction then takes that a step further, capturing the anxiety and incomparable struggle of Jess (Ophelia Lovibond). There’s a compelling tension, it moves very effectively, especially with its runtime coming in at under eleven minutes. It brings through that vein of comedy in a very British way, it’s a little bit dark, sarcastic and finds humour in hard times. The way that King builds Still Life means that it packs a real emotional punch. There’s an increasing pressure to the progression, as King does a wonderful job of representing Jess’ impossible task of trying to move forward through such a dense wall of grief and depression.
Part of that emotional punch is without question down to the performance from Ophelia Lovibond. Her portrayal is moving, visceral and broken, it’s such an honest, raw representation of what countless women have been through. Lovibond is genuinely underrated for the presence she brings to the table, she commands the screen even when her character is in pieces. While Jacob Anderson as her partner Max is wonderful is such a different way, capturing an utterly supportive, gentle presence, being who Jess needs in that moment, while also struggling himself.
Still Life is moving, impactful and necessary. It’s only in recent years that parents have felt more able to have open conversations about stillbirths and miscarriages, and it’s such a vital topic, as to not isolate parents while they’re struggling with that unimaginable loss. It serves both as a wonderful representation of wading through that overwhelming grief and as a reminder to be sensitive, empathetic and careful with our words. Ophelia Lovibond gives a terrific performance which certainly leaves a strong impression. The cinematography from Carmen Pellon Brussosa is excellent, and it’s well shot by Sophie King to pack the short with tension. All of which is then accented with a final reminder of how underappreciated mums often are.
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