“Supernova” is a heart-rending portrait of devotion and dementia

By N.B.

THERE ARE several new or recent films about dementia, such as “Relic”, “The Father” and “Falling”, all of which focus on the crushing difficulty of caring for those who can no longer care for themselves. One of the unusual and heartbreaking aspects of “Supernova”, a tender British drama written and directed by Harry Macqueen, is that it is set at an earlier point on the timeline. Tusker, an American novelist played by Stanley Tucci, is suffering from posterior cortical atrophy. He is deteriorating physically and mentally, and he will soon fail to recognise his partner, Sam (Colin Firth), an English concert pianist. But for most of each day he is the same lively, witty, articulate charmer he always was. He and the stolid Sam are in the surreal limbo state of mourning the loss of a relationship which is still alive and well.

In the short term, their lives could hardly be better. Sam has a recital booked in the Lake District, a scenic region in north-west England, and the couple is making a long weekend of it, chatting amiably and amusingly as they trundle through the valleys in a trusty camper van. They stop off along the way to revisit remote beauty spots from their shared past, and Tusker, a keen astronomer, sets up his telescope to see how brightly the stars shine so far away from urban light pollution. After a leisurely half-hour, they call in on Sam’s adoring sister Lilly (Pippa Haywood) and her family. Dick Pope, a cinematographer, surrounds the characters with glorious vistas of forested mountains and clear streams, while the cosy interiors are as warm, dark and inviting as a nook in your favourite country pub. Sam says that his one wish is for the holiday to never end, and it is easy to see why.

Middle-class families are not fashionable in independent British cinema, especially functional middle-class families, so it was bold of Mr Macqueen to portray Sam, Tusker and their relatives as comfortable, content and mortgage-free. Richard Curtis’s films tend to revolve around people of a similar social stratum; indeed, some of those people are played by Mr Firth. But while Mr Curtis’s repressed characters hide their affection behind jokes and insults, the characters in “Supernova” express their love openly and unironically. (The central duo’s sexuality is never alluded to, incidentally, except when Tusker makes a wisecrack about Section 28, Margaret Thatcher’s anti-gay legislation.) Tusker may tease Sam, and Sam may grumble at Tusker, but they are matter-of-fact about their connection. There is no sentimentality about them, and there is no need for over-written speeches.

The performances are a masterclass in restraint and nuance, in tightened jaws and fond smiles. But the effect of all this understated devotion is profound. By dint of Mr Macqueen’s frank, pitch-perfect dialogue and the easy chemistry between Mr Firth and Mr Tucci (old friends in real life), “Supernova” boasts one of cinema’s most radiant depictions of a genuinely happy couple.

This is why the prospect of Sam and Tusker’s imminent and final separation is so awful. As vivacious as Tusker is, there are small, agonising signs of his illness: one night he forgets the word “triangle”, the next morning he fumbles with his shirt buttons. Again, the actors’ skilful and intelligent performances are heart-rending. Sam is keen to discuss what they should do next—move into a bungalow, perhaps, or set off on a tour of Europe. But both men fear that it might be too late for any such options. Their holiday is coming to an end, whatever Sam may wish. “You’re still the guy he fell in love with,” Lilly assures Tusker. “No, I’m not,” he replies. “I just look like him.”

“Supernova” may be a title that evokes a science-fiction epic rather than an intimate and modestly budgeted road movie. But in its tremendous sincerity about love and death, the film feels momentous enough to justify its explosive name. The only question is which of the two evenly matched stars will be classed as Best Actor and which as Best Supporting Actor at the BAFTAs and the Academy Awards. If there were any justice, both of them would be leads, and both of them would win.

“Supernova” is screening in American cinemas now and will be available on demand from February 16th. It will be released in Britain on March 5th