In many respects, The Last Days of Ptolemy Grey, adapted by James Mosley from his own novel, shares more than a little DNA with Florian Zeller’s The Father.
Both deal with mental decline, employ set design and cinematography to disorientate, while in each case a revered character actor holds court. Disintegrating relationships and psychological isolation play their part in both, while memories either fade into the ether or voraciously come to life. Where they deviate is in their structural choices, as one chooses to remain intentionally static within one shapeshifting location, while another ventures outside to lose some dramatic heft in the process.
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