Pop-Culturalist.com

Kenneth Lonergan’s Manchester by the Sea is an intense study of grief and guilt. They are expressed so heart-wrenchingly well by the cast and with such evocative cinematography that the film draws the viewer in, despite no upfront promise of a happy ending.

Much fanfare erupted solely around the announcement of Kenneth Lonergan’s newest project. It has been several years since his last film, Margaret (a huge critical success). Originally a playwright, Lonergan is known for exquisitely examining characters in his plays and films. He has done exactly that with Lee Chandler (Casey Affleck) in Manchester by the Sea.

Lee is a loner. He is a janitor for an apartment complex, quietly doing odd jobs as tenants call him in. He drinks after work by himself. When he drinks, you can see the bubble of emotion beneath the surface. Most of the time, he explodes in rage from seemingly insignificant things—like an extended glance from a gay man. When Lee finds out that his older brother, Joe (an always lovable Kyle Chandler), has died of a heart attack, and left his 16-year-old son, Patrick (Lucas Hedges), in Lee’s guardianship, Lee returns home to Manchester. While he’s there, he must confront the past that haunts him, including his ex-wife, Randi (Michelle Williams), and decide what is best for his teenage nephew.

The moody atmosphere of the town that is captured on screen—brilliantly by cinematographer Jody Lee Lipes—wonderfully reflects the emotions running through Manchester by the Sea; it is one of the strongest components of the film. The choppy waters, the grey skies, and the chill in the air all keenly draw out the unexpressed emotions of the characters. Many of the landscape scenes could be taken as a still photograph that could easily grace a mantelpiece or wall as artwork.

Under Lonergan’s fine direction, the cast is the other strength of the film. Casey Affleck carries the weight of Lee’s pain incredibly well. The moments of normalcy that he experiences with Patrick are short glimmers of happiness that are countered by the sad truth that Lee will never escape the guilt and sadness that is slowly eating him away inside. That is mostly conveyed with Affleck’s weighted silence, with his expressive eyes, and a measured unemotional façade that rarely breaks. Michelle Williams, in her brief time on screen, is electric. One scene, in particular, when Randi forgives and apologizes to Lee, is absolutely heartbreaking. Then, there is Lucas Hedges. This young actor brings surprising moments of comedy to an otherwise melancholy story. He captures the underlying—and sometimes eruptive—emotions a teenager experiences perfectly; his process of dealing with his personal grief about his father feels real.

While Manchester by the Sea is not a film for people looking to have a happy escape, it is beautifully done. It will, in the end, make you feel grateful for the family you have.