As I watched this film in the middle of covering MSPIFF, I felt like Nowhere Special would’ve been a perfect film to see with an audience at a film festival. I’ve been a fan of James Norton for some time so I’m immediately sold on this film when I see him as as a lead.

Written and directed by Italian-born filmmaker Uberto Pasolini, it’s inspired by a true story set in Northern Ireland, but the real people remain anonymous. Norton is a 35-year-old window cleaner John is raising his 3-year-old son Michael (Daniel Lamont) on his own. From his gaunt appearance, it’s immediately apparent that John is terminally ill with only months to live–there’s not much detail given as to what kind of illness he suffers from, but ultimately that’s not all that important. What matters is the father and son relationship and that’s what Pasolini’s script focuses on, and the lengths John would go to shelter Michael from such a harrowing reality that they don’t have much time together. For most of the film, we see John working with an adoption agency to find a new family for Michael.

It could’ve been very tedious and weepy, but Nowhere Special remains engaging and emotionally resonant without being overly sentimental. Pasolini’s direction is understated and minimalist, letting the story unfold naturalistically as John and Michael spend their daily lives. Lamont is an absolutely adorable kid and there is something hypnotic about watching the two spend their precious time together, that birthday scene absolutely breaks my heart. Their relationship feels authentic… I read that Norton spent a lot of time together with Lamont during rehearsal to strengthen their bond before filming and that shows.

I appreciate that Pasolini doesn’t use overly manipulative music here, which would make the film cloying and mushy, but Andrew Simon McAllister’s poignant score hits you at the right moment. Norton’s nuanced performance here is easily one of his strongest works to date, he’s able to convey deep emotion and anguish with his eyes and facial expression. Less capable performers could’ve easily resorted to overacting but the less-is-more approach is refreshing. DP Marius Panduru also takes that approach, the beautiful cinematography subtly captures the characters through a warm, intimate lens.

The story is inherently heartbreaking but Pasolini doesn’t drown the film with bleakness, there are lighthearted moments, i.e. quirky situations when John visits with some of the parent(s) ’auditioning’ to be Michael’s foster family and when John hits back at a rude window cleaning customers arm with raw eggs. The movie celebrates life’s simple pleasures and making the most of our time with loved ones. Even if we’re not given an ‘expiration date’ in the form of a medical diagnosis like John, none of us really know how much time we have on this earth. Some people might see some similarities to another indie film Aftersun which is a father-daughter relationship, but I find this one to be much more emotionally resonant.

This is my intro to Pasolini so I’m keen on checking out his other work. Also props to Eileen O’Higgins as the earnest adoption agency rep who’s so patient in dealing with John’s understandably volatile emotional state. As for Norton, I’m even more convinced he’s one of the best actors working today. His Irish accent is convincing with an indelible screen presence. His name was thrown into the constantly-changing ‘next James Bond actor’ hat and he’d have my support as 007 but then again, I just want to see him in more leading roles.

Have you seen Nowhere Special? I’d love to hear what you think!

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