David Lowery’s A Ghost Story is unlike any movie I’ve ever seen, and for the most part, that’s a good thing. The title is literal, but it’s not the kind of ghost story we’re used to, which is also good. Instead of a fright-fest, it’s a meditation on time and grief.
A couple, Casey Affleck and Rooney Mara, live in a small ranch house. The film has very little dialogue, which is good, because I couldn’t hear what the two were saying anyway. I do know that Mara wanted to leave the house, but Affleck felt an affinity for it.
Early on Affleck is killed in a car accident. Mara identifies him in a hospital, but after a while he rises and starts walking, covered in his sheet like a kid at Halloween. No one sees him. A portal to, I suppose, the great beyond opens up, but he chooses not to enter it, and walks back to his house, where he will stay for a long, long time.
Mara eventually moves out, but Affleck is rooted to the spot. She never sees him, but he can make himself known. When she comes home after a date with another man he makes the lights flicker and knocks books off a shelf. There is a ghost in the house next door (wearing a floral sheet) that he can communicate with silently.
Different people come and go in the house. A single mother and her children are driven out by his antics. Other people move in, and we get the longest bit of dialogue when a man delivers a long monologue about how nothing really matters because we’re all going to get swallowed by the sun. Affleck makes the lights flicker after he’s done.
There’s more that includes time-bending. Time for Affleck as a ghost is different than hours, as years go by like seconds. All the while he tries to chip away at paint to get a note that Mara left in a crack in a door jamb.
A Ghost Story is not scary, but it is spooky. Lowery’s choice to have Affleck covered in a shroud was a good one. It might seem silly on paper, but having people going about their business while a shroud-covered man watches them silently is arresting. He has two black holes in the sheet, but we can’t see his eyes.
The film is very slow moving. For the first fifteen minutes or so I thought it would be torture, because there’s a long scene of Mara eating an entire pie, But it picks up and becomes absorbing.
Kudos also to Daniel Hart, who composed an excellent score.