Sometimes love stories tread familiar ground, but what makes them stand out is the depth of emotion and complexity they bring to their characters. After, a 2019 romantic drama directed by Jenny Gage, does just that. Based on Anna Todd’s popular novel, the film stars Josephine Langford as Tessa Young and Hero Fiennes Tiffin as Hardin Scott. Set primarily in a college town, After explores the journey of first love amidst the tumultuous waters of self-discovery. The genre sits squarely within the romance and drama categories, focusing on the intense relationship that develops between the lead characters.
At its core, After tells the story of Tessa, a bright and ambitious young woman, and Hardin, the brooding and troubled bad boy, as they navigate the ups and downs of an unexpected romance. Tessa arrives at college with her life planned out: a long-term boyfriend back home, good grades, and a clear path to success. That is until she meets Hardin, whose unpredictable nature and emotionally turbulent past pull her into a whirlwind of passion and chaos. The movie follows their evolving relationship as Tessa begins to question everything she thought she wanted out of life. But this isn’t your average “good girl meets bad boy” tale; the twists lie in the complexity of the characters’ flaws and the psychological battles they face, leaving audiences hooked without revealing how it all ends.
One standout aspect of the film is the chemistry between Josephine and Hero. Both actors bring a rawness to their performances that makes their characters feel believable, even when the story veers into melodrama. Josephine portrays Tessa with a perfect balance of innocence and quiet strength. Her character arc, moving from naivety to self-awareness, is convincing, with Josephine carrying the emotional weight of the film. Hero’s portrayal of Hardin is equally compelling, with his brooding intensity layered with subtle vulnerability. While his character at times feels stereotypical, Hero injects just enough depth to make Hardin’s emotional struggles relatable. Their chemistry carries the film, making even the most predictable moments feel charged with tension.
The direction by Jenny Gage, though not groundbreaking, does capture the mood of young love and internal conflict quite effectively. The pacing is deliberate, allowing the emotional beats to land without feeling rushed, but it occasionally drags in the middle, where the repetitive nature of the relationship’s push and pull becomes apparent. Gage’s background in photography is evident in the film’s visual aesthetics. The cinematography by Adam Silver captures intimate moments with soft lighting and a muted color palette, creating a dreamlike quality that fits the tone of the film. The framing of certain scenes, particularly the close-ups during Tessa and Hardin’s more intense exchanges, emphasizes their isolation in the world they’ve created for themselves. This visual storytelling adds an extra layer of depth to the narrative.
Music also plays a significant role in setting the mood. The soundtrack, featuring artists like Pia Mia and Era Istrefi, mirrors the emotional highs and lows of Tessa and Hardin’s relationship. The songs are well-placed, often enhancing the drama of a scene without overwhelming it. The mix of contemporary pop and moody instrumentals blends seamlessly with the film’s themes of passion and uncertainty. However, the score itself doesn’t necessarily stand out as memorable beyond the context of the movie; it serves more as a complementary element rather than a focal point.
Another strength lies in the film’s attention to costume design, especially in how it reflects the characters’ emotional states. Tessa’s wardrobe shifts from conservative and practical to more expressive and adventurous as her relationship with Hardin deepens. These subtle changes in her appearance reflect her internal transformation as she starts to embrace sides of herself she had previously suppressed. Hardin’s wardrobe, on the other hand, remains consistently dark and edgy, a nod to his troubled past and guarded personality.
Thematically, After explores the nature of toxic relationships and the gray areas that often come with intense emotions. It delves into the idea of self-destruction, where passion and love can often blind us to red flags. While the film romanticizes certain aspects of their relationship, it also raises questions about the sacrifices one should or shouldn’t make for love. However, the narrative does stumble at times in balancing the romanticized tension with the underlying message, leaving some scenes feeling problematic, especially when considering the more volatile aspects of Hardin’s character.
In terms of editing, the film’s structure follows a linear progression but could have benefitted from tighter cuts, especially during the middle portion where the drama tends to drag. Some scenes feel unnecessarily long, diluting the impact of key emotional moments. The transitions between the lighthearted and more intense scenes are handled well, though, maintaining the film’s overall flow.
Overall, After delivers what fans of the novel would expect: a dramatic, passionate love story filled with angst and emotional twists. While the plot is somewhat predictable, the performances, especially by Josephine and Hero, elevate the material, making it an enjoyable watch for fans of the romance genre. It’s not without its flaws—pacing issues, some questionable character dynamics, and moments that feel overly melodramatic—but it remains a visually appealing and emotionally charged film that resonates with a young audience.
For those who enjoy tales of complicated relationships and self-discovery, After offers a gripping, albeit flawed, exploration of love’s darker side. While it may not appeal to everyone, particularly those looking for a more balanced portrayal of romance, it succeeds in capturing the intensity of first love and all the messiness that comes with it. Fans of the novel will likely be pleased with the adaptation, while newcomers may find themselves drawn into the story, despite its imperfections.
