Hereafter: Living After Loss

Clint Eastwood directs this self-produced film (penned by Peter Morgan) that stars Matt Damon as a psychic that begrudgingly weaves his way in an out of people's lives, struggling to find a sense of normalcy to his existence which is anything but pleasurable. There is a desperate quality to his desire as his own interpersonal relationships suffer because of his freakish ability to connect with the deceased whenever he physically touches someone.

The film opens as a breathtaking tsunami devastates the lives of many. We are shown the poignant survival of a French journalist (Cécile De France) that was out shopping for her children's presents during the crushing wave. While I wasn't as drawn to her plight in comparison to that of a young English boy, it is portrayed well and there is a sense of real-world suffering in her tale, though I do feel like her story is given too much focus.

Next, we see the pained reality of that young English boy (played by (Frankin McClaren) who abruptly loses his twin brother (George McClaren). The death of his brother is inadvertently caused by hoodlums during a trip to a pharmacy to aid their drug-addicted mother, who has her endearing moments of sobriety. I would have preferred to see a more elaborate depiction of the boy's struggle, even if the nature of additional scenes would be obvious.

Oddly, third-most featured is the star himself, Matt Damon, whose supernatural suffering serves as background music for the first half of the film. Only during the latter does he get some development. He shoos other desperate people away that have learned of his special "gift" which he values as a "curse" he can't get rid of. Though, still present beneath his own pain, lies an empathetic pity for people being tormented by the loss of their loved ones.

He has a brother (Jay Mohr) that looks after him but in a very human way fails to offer the support his brother truly desires as opposed to what he feels is the proper solution for his troubles. This rift culminates into an unfortunate incompatibility between the siblings.

The film's pace feels natural, never quick or distracting, and the film itself reflects a thorough sense of realism. Noting the controversial premise of physic ability, the filmmakers restrain it from being the main focus. I was drawn most deeply to McClaren's performance because he is faced with trauma so early in his life. Whereas the other characters are grown-up and more capable of solving their problems, he wallows in it and slowly finds his way. Overall, the film is optimistic and while it doesn't belittle the notion of suffering in people's lives, it recognizes trauma as being sudden and unexpected, while retaining a message that seeks to encourage its viewers to face their misery and quit ignoring it. It won't leave until it's resolved. Goodly, the film avoids any religious or political influence and avoids trying to answer the neverending question of, "What is the afterlife?"

Also, the film subtly states that people can enjoy some measure of joy in their lives by embracing a progressive response to grief. Other touches include the notion of "cheating death." It is minor but reminded of the Final Destination movies. Those who believe that the presumed presence of their deceased loved ones serves as a watchman should be able to relate to this slight focus. One scene in particular has the young English boy scrambling for his hat on the busy floor of the subway. By coincidental or paranormal influence, it is implied that his brother was looking after him, since the train he intended to board becomes victimized by a bomb. The most pronounced line from the trailer is, "If you're worried about being on your own, don't be. You're not." Many people believe the dearly departed exist around us in spirit, and this film features that notion. It is important to move forward, carrying our pain with us, instead of trying to leave behind. If we do, it'll chase us.