Honeyjoon

Honeyjoon follows Lela (Amira Casar) and her daughter June (Ayden Mayeri) as they embark on a trip to the Azores after a recent loss, both with polar opposite views on why they have come. They both attempt to grapple with their differences in how they cope with grief and how to navigate their lives after loss. A philosophical tour guide, João (José Condessa), helps them accept their differences in an attempt to find each other.

The mother-daughter dynamic between Amira Casar and Ayden Mayeri is mesmerising, thanks to their magnetic and relatable onscreen chemistry. Tinged with a melancholic theme of loss and grief, both women display a profound sense of warmth and love despite their inner pain. While their life experiences don't align, the trip prompts them to acknowledge their differences and grow in navigating their grief. Their performances play so well off each other as June has a youthful and sensual spirit, while Lela is more grief-stricken and comedic in her attempt to grasp why they have both come to the Azores. Amira Casar, in particular, is absolutely incredible and deserves more opportunities, as this is easily her best work since Call Me by Your Name (2017). Ayden Mayeri, on the other hand, is a revelation, bringing so much joy and heart to their relationship. José Condessa, who portrays João, the tour guide, is a standout among the supporting players, conveying so much humanity by seeing the difference in others.

Lilian T. Mehrel’s direction is steady and complements the meditative pacing and tonal balance. The screenplay perfectly handles the comedic and dramatic beats incredibly well in an attempt to flesh out the mother-daughter dynamic and their personality differences. While the pacing is steady in its opening moments, the second half drastically picks up, and the brisk runtime never overstays its welcome. Retail Space’s musical score suitably fits the lighthearted and feel-good tone with synth themes utilised throughout a sequence of sexual tension. The use of voiceover to narrate a text conversation is also a unique narrative device that is rarely utilised within cinema. Inés Gowland’s camerawork is breathtaking and never feels intrusive on the characters as they reflect on their pain. Gowland shoots the ocean and the Azores as almost its own character with stunning wides and drone photography overlooking the gorgeous landscapes; it's visually stunning and a sight to behold.

Unfortunately, the freedom movement subplot detracts from the experience and feels shoehorned in for extensive social commentary that doesn't fully land. That being said, the narrative comes full circle in the third act and wraps up both Lela and June’s character arcs in a satisfying manner. It's a hilarious and relatable experience of how we cope with pain and love despite our differences in age or personality by tackling profound themes such as depression and navigating the pursuit of happiness. One of the most beautiful aspects of the film is how the filmmakers allow scenes to play out in moments of stillness and reflection, in order for the characters to feel and grieve in their own way, and that is profoundly moving.

Honeyjoon is a love letter to the beauty of life and appreciating what you have to move forward and heal. The film deserves to be seen by a wider audience due to its emotional resonance, which could potentially appeal to anyone, as it perfectly captures the complexities of a mother-daughter relationship. Anchored by two terrific central performances from Amira Casar and Ayden Mayeri, and Lilian T. Mehrel’s stunning direction, it's an emotionally overwhelming experience that’ll probably make you want to call your mother after the credits roll.

Honeyjoon will screen at the 2026 Palm Springs Film Festival on January 6th, 7th, and 11th.