Abstract
Nothing Echoes Here (Hay, 2022) charts a 36-hour period in the life of a woman and her two children, in the near-aftermath of the death of their husband and father. The film explores the role that space – interior, exterior, familiar, non-familiar – plays for those grieving a profound loss, while using formal elements of film language and performance to portray grief in an authentic and empathetic manner, prioritising a sense of experience over story and narrative. Informed by phenomenological approaches to grief; current grief theory including the ‘dual-process approach’ ; and Gilles Deleuze’s theory of the time-image and the any-space-whatever , Nothing Echoes Here considers whether it is possible to affectively portray the lived experience of grief in a fiction film.
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