CAPSULE: Still Life (2013, Dir. Uberto Pasolini)

John May has an unusual occupation. From his grey office (it's quite well lit, just grey coloured), He attempts to locate the friends and family of those who have died lonely deaths in his South London borough.

John May has an unusual life. Nightly, in his impeccably clean flat, he eats his upended tin of tuna from a plate with one slice of dry toast on the side.

John May has an unusual shock coming to him. All in one day he's sent to investigate a death in his block and finds himself out of a job. With his closest case turning out to be his last, John May throws caution to the wind and sets out to delve a little deeper into the life of his not-so-recently deceased neighbour.

Uberto Pasolini has made an unusual film. Quiet, contemplative, matter of fact, Still Life is a beautifully shot, beautifully considered study of human kindness and obligation.

Eddie Marsan gives an unusual performance. He is everything Pasolini's film is and Pasolini's film is everything because of him. Out of John May's day to day life, Marsan and Pasolini draw surprising emotions and even more surprising humour. Each scene is a wonderfully composed vignette. Every character he meets is an area for further study. The smallest kindnesses become adventurous joys.

Still Life is an unusual experience. Within its understated eccentricity, behind its morbid generosity, it has many a gift to give. Structured. Devastating. Affirming.

★★★☆

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