As the film proceeds we witness how Yesterday deals with the horrifying burden of sickness in a society that is still largely ignorant of the causes of disease, and highly suspicious of those who succumb to it; and in a country whose government offers no real material or moral help for such extremity. Yesterday is an examination of life under the tyranny of the incurable. Nevertheless, the film eschews any overtly political comment though there are a couple of scenes that tempt us to draw our own conclusions and remains a purely personal story of a young woman's fight against the invincible.
Yesterday is a young mother living in a small African village, trying to raise her daughter and give her the education that she herself was denied. She knows nothing of AIDS when the horror of knowledge is thrust upon her. All that remains for her to do is try to shield her daughter from them. Events conspire against her, yet bolster her at the same time.
A terrifying confrontation with her husband a brilliant cameo, superbly played by Kenneth Khambula , the man who gave her AIDS, leads to a heart-rending reconcilement. Death gives her a determination to live. In every case the bad engenders some good. In charting the effects of AIDS on the person and personality of this young woman and, frighteningly graphically, in her husband we see the human condition reach both its nadir and its zenith.
The disease is at once catastrophically demoralising and vigorously ennobling. Yesterday's courage in the face of irremediable adversity is tearfully potent. She is a heroine in the true sense of performing heroic actions against the odds. Illness forces her to strength, fear engenders courage, and in the darkest oppression her spirit seems to soar.
Yet the film never descends into self-pity. Pity exists in that very coldness. The relationship which grows up between Yesterday and the teacher becomes the most important aspect of the film, because the teacher is in effect the only person in the district who understands what AIDS is; and because of that understanding, she able to evince compassion.
Here, perhaps, is the film's agenda, its philosophical crux: a subtle plea for the dissemination of education and greater awareness in Africa, since only understanding can engender reason and humanity. It is a point that is not pushed, nor does it need to be, it speaks so eloquently for itself.
As a moral fable, Yesterday is wonderfully judged. The decline of Yesterday's physical health becomes the ascension of her mental courage, and the strength of character she displays by the end of the film allows one to believe that the human being can rise above its own condition when it needs to.
But the film does not stray into the cheapness of tearjerking. It remains firm, stark and moving in its own integrity. Filmed on a microbudget, Yesterday relies on the potency of its own sombre story to push it forward, the stark beauty of its scenery, and the powerful performances of its cast.
Shot with an unerring eye for detail and burgeoning with picturesque photography, it is surely one of the most profound and interesting films to be released this season. Yesterday is playing at cinemas nationwide. Details Edit. Release date September 3, South Africa.
South Africa. Official site. Jack Malik : Like what? Ellie Appleton : Benedict Cumberbatch becoming a sex symbol! Sign In. Play trailer Comedy Fantasy Music. Director Danny Boyle. Richard Curtis screenplay by Jack Barth story by. Top credits Director Danny Boyle. See more at IMDbPro. Trailer Official Trailer. Official UK Trailer. Clip All About Sophia Di Martino. Extended Clip. Featurette A Look Inside. Interview Photos Top cast Edit. Sophia Di Martino Carol as Carol. Ellise Chappell Lucy as Lucy.
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