We Go Again

We Go Again follows Marie (Zuza Tehanu) and Amy (Charlotte Chiew), a couple in a long-term relationship living in an isolated cottage. Both are struggling to deal with the realities of being neurodivergent, with Marie chasing her dreams and Amy close to giving up on hers. The film is a psychological drama that explores identity and how to navigate life in isolation.

We Go Again opens without an obvious direction, relying instead on visual storytelling to establish its tone and characters. The film works best in its moments of stillness, as each performance shines through body language and physicality. The pacing is incredibly methodical, and this works in the film’s favour as it establishes the relationship between Marie and Amy to a suitable degree. Despite its minimal budget, the filmmakers make profound use of the single-location setting throughout much of the runtime, utilising its isolated backdrop to reinforce and deepen the film’s central narrative themes. Alongside this, the lack of dialogue is also an apt choice in the opening as the filmmakers establish how isolated the characters and cottage are.

The most impressive technical aspects of the piece shine through in scenes of surrealism; these sequences are incredibly hypnotic thanks to the low-key lighting and focus on colour, giving the film a distinctive aesthetic. It's visually stunning, to say the least, and it's jaw-dropping what was accomplished with a smaller budget. These sequences are also heavily enhanced by the eerie musical score. Tom Jolliffe serves as the film's composer and does a commendable job of heightening the atmosphere with some unsettling motifs that may linger in viewers’ minds. The piece noticeably suffers from an unfinished sound mix, which can undermine certain scenes.

Another technical aspect that shouldn't go unnoticed is the camerawork. Oliver Jolliffe’s framing choices are incredibly well executed, mixing wides with handheld shots during moments of conflict. The shift to fixed framing works well in dialogue-heavy scenes as the audience never loses sight of each character's vulnerability. Also serving as the film's editor, Oliver Jolliffe makes each scene feel seamless, with fluid transitions that never overstay their welcome. That said, some editing choices are bizarre, with the film frantically cutting between Marie and Amy during their conversations, creating an incredibly jarring experience.

The performances are mostly solid throughout; both Zuza Tehanu and Charlotte Chiew’s portrayals of Marie and Amy, respectively, are incredibly nuanced and effective. Their performances resonate the most through their body language and physicality. By fleshing out their long-term relationship, the filmmakers create a believable dynamic, brought to life by their magnetic chemistry and nuanced portrayal of isolation. That said, the supporting players feel largely shoehorned in for comedic relief and offer fairly little to the narrative.

Some of the material during the final third takes a rather sinister turn, which can feel jarring and difficult to experience as a viewer given the dark subject matter it explores. However, it pulls the rug from under the audience by recontextualising key narrative threads through its exploration of forgiveness and closure. Sadly, the conclusion can feel prolonged and never quite knows when to wrap up, despite the dramatic beats landing.

We Go Again is a melancholic, surreal exploration of identity, love and passion told through isolation and psychological drama. While it may suffer from a noticeably unfinished sound mix and a prolonged conclusion, it boasts excellent camerawork and a memorable musical score.