Written by: Laurence Guy
Directed by: Keith Wilhelm Kopp
Translations takes a non-sensational approach to the potentially melodramatic subject of mental illness. The (off-screen) death of Liam has a devastating effect upon his younger sister Stef (Kate Morgan-Jones) and best friend Evan (Alan Emrys). The latter reverts to his default approach of dealing with trauma by basically running away from his problems and takes to the road. Stef suffers panic attacks so intense she develops a phobia about leaving her house and scratches a living translating Welsh documents into English. The sudden appearance of Evan on her doorstep offers hope they may be able to help each other move forward.
As the script for Translations is wordy and most of the scenes take place in the single location of Steph’s house the story might have worked as well on stage as on screen. Although author Laurence Guy takes a sensitive approach to the subject of mental illness there are contrivances. The cause of Liam’s death is left vague – he and Evan being in the wrong place at the wrong time and getting caught up in a hostage situation. Conflict between the characters arises suddenly for, apparently, no reason other than to move along the plot. Steph takes inspiration from the contents of a letter she is translating but it seems odd someone would send such intimate details to a recipient who does not speak the language in which they are written.
Possibly for budgetary reasons the film is shot in black and white. Director Keith Wilhelm Kopp makes a virtue of necessity publicising the movie with the line ‘Love isn’t monochrome’. However, rather than sharp black and white imagery the scenes in Steph’s home have a soft-focus murky grey effect. It serves as a visual metaphor for the drab existence imposed on Steph by her illness but after a while you start to wish someone would just turn on a light as the facial features of the characters are not always visible in the twilight.
Kate Morgan-Jones and Alan Emrys are convincing as damaged individuals. Morgan-Jones is permanently on edge and not necessarily just because of panic attacks. There is tremendous anger behind her performance as if resenting Liam for dying and her own inability to deal with the loss. A poem recited by Morgan-Jones at the opening of the film may acknowledge the value Steph places on walls as a source of safety and security but also has the bleak sense of accepting incarceration. Alan Emrys, on the other hand, shows the negative side of taking an apparently laid-back approach to loss. A survivor of childhood physical abuse Evan has been running from hurt for so long he has made himself a nomad without a home.
Steph and Evan are not, however, convincing as a couple simply because they have nothing in common except the loss they share. A point made poignantly when, upon unexpectantly hearing a recording of Liam’s voice, they instinctively hold hands for comfort. There is the sense overcoming their mental distress may be at the cost of their tentative romance.
Despite contrivances Translations successfully tackles a sensitive subject and features a fine pair of performances.
Translations is now available to stream on fawesome.
