In the world of independent filmmaking, many first-time directors often draw inspiration from their own lives and families to create their debut features. This approach allows them to delve into familiar territory and bring a sense of authenticity to their stories. Films such as “Krisha” by Trey Edward Shults, “Lady Bird” by Greta Gerwig, “Aftersun” by Charlotte Wells, and even “Hereditary” by Ari Aster are prime examples of this genre. Joining this esteemed list is Lucy Kerr’s “Family Portrait,” a film that explores the dynamics of a family through the lens of anxiety and foreboding, without relying heavily on a traditional plot.
“Family Portrait” tells the story of a Texas family coming together for their annual group photo, just before the start of the COVID-19 pandemic. While there is a bare-bones narrative that drives the film, Kerr is more interested in building moods and evoking sensations through her use of images, sounds, and the movements of her characters. The result is a film that creates a sense of unease and tension without resorting to overt dramatic moments.
As a graduate of the CalArts film and video program, Kerr has already established herself as a talented filmmaker with her short films, including the conceptual documentary “Crashing Waves.” With “Family Portrait,” she takes on her first feature-length project, crafting a story that revolves around a family waiting for a photograph that never seems to materialize. This sense of waiting and anticipation is reminiscent of Luis Buñuel’s “The Discreet Charm of the Bourgeoisie,” where the characters are always on the verge of sitting down for dinner but never actually do.
One of the notable aspects of “Family Portrait” is its blend of surrealism and hyperrealism. The film oscillates between dreamlike sequences and moments that feel incredibly grounded in reality. Sound designers Nikolay Antonov and Andrew Siedenburg play a crucial role in heightening the tension through their use of sound. The rustling of leaves becomes a wave washing over the land, while at other times, the sound drops out completely, plunging the viewer into a disconcerting void.
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The film’s protagonist is Katy, played by actress-director Deragh Campbell. Katy returns home with her new boyfriend Olek, played by Chris Galust, for the annual photo. From the moment we meet Katy, it is evident that she is highly anxious. The film largely unfolds from her perspective as she learns about a relative’s mysterious lung infection and sets out to find her missing mother. The question arises: is Katy simply oversensitive, or is she perceiving something that others cannot?
Taking place over the course of a single afternoon, “Family Portrait” juxtaposes casual family discussions with moments of impending doom. In one sequence, Katy’s father tells a story about an iconic photo taken during World War II that was later used as propaganda in the Vietnam War. This narrative thread explores the manipulative power of images and highlights Kerr’s warning that even seemingly unaltered depictions of reality can be constructed for specific purposes.
As the film progresses, Katy’s reality begins to disintegrate. She seems to be spiraling into an abyss, symbolized by a scene where she slowly disappears into a stream, with cinematographer Lidia Nikonova diving in alongside her. The camerawork is a standout aspect of the film, with breathtaking Steadicam shots in the opening scene and fixed shots that observe the drama from unconventional angles.
Due to its distancing effect and lack of a traditional story, it may be challenging for viewers to emotionally connect with “Family Portrait.” Nevertheless, Kerr’s debut feature offers an intoxicating portrait of fragmented snapshots and the ephemeral nature of familial relationships. Like photos assembled into a collage without forming a complete picture, the film leaves an indelible impression that lingers long after the credits roll.
“Family Portrait” premiered at the Locarno Film Festival in the Cineasti del presente section. The cast includes Deragh Campbell, Chris Galust, Rachel Alig, Katie Folger, and Robert Salas. In addition to directing, Kerr also wrote the screenplay. The film was produced by Megan Pickrell and Frederic Winkler, with Lucy Kerr and Brittany Reeber serving as executive producers. Lidia Nikonova served as the director of photography, while Tim Nicholas worked as the production designer and Dev England as the costume designer. The editing was done by Karlis Bergs, with sound design by Nikolay Antonov and Andrew Siedenburg. The film is being distributed by Lights On.
