The Almond and the Seahorse: A Misguided Exploration of Trauma

As I sat through the screening of The Almond and the Seahorse, I couldn’t help but feel a sense of disappointment wash over me. The film, based on a play by Kaite O’Reilly, had all the makings of a powerful drama, but ultimately fell flat due to its clumsy contrivance.

The devastating effects of traumatic brain injury

The story follows two couples, each grappling with the aftermath of traumatic brain injuries. Sarah (Rebel Wilson) struggles to reconcile with her amnesiac partner, Joe (Celyn Jones), while Toni (Charlotte Gainsbourg) becomes a full-time carer for Gwen (Trine Dyrholm), who has lost all memory of the past 15 years. On paper, this sounds like a recipe for a dramatic and emotional exploration of trauma, but in practice, it feels like a shallow exercise in melodrama.

“The film’s attempts to tug at the heartstrings come across as disingenuous and manipulative.”

The performances, too, are lackluster. Rebel Wilson, in a rare dramatic turn, looks uncomfortable in her role, and Charlotte Gainsbourg’s Toni is more sullen teenager than grieving partner. It’s a shame, because the subject matter is ripe for exploration, but The Almond and the Seahorse fails to deliver.

The fragility of human memory

Perhaps the greatest tragedy of The Almond and the Seahorse is its wasted potential. With a more nuanced approach, this could have been a powerful exploration of the human experience. Instead, it feels like a shallow exercise in melodrama.

The complexities of the human brain

In the end, The Almond and the Seahorse is a disappointing misfire, a film that promises much but delivers little. It’s a shame, because with a more thoughtful approach, this could have been a truly impactful film.