Judith and Steve go on a couples retreat, with their two young daughters along for the ride, in an effort to work on their relationship and save their rocky marriage. It doesn’t go all that well for them.
That is more or less the premise of Seagrass in a nutshell. Following the death of Judith’s mother, her relationship with Steve has been suffering, but then again, maybe the problems were already there to begin with and recent events have just brought everything to light.
Steve, of course, has his own issues and their daughters are also going through some stuff, with the eldest entering a semi-rebellious tween phase and their younger daughter convinced that she’s seeing the ghost of her late grandmother. Complicating matters further is the presence of Pat, the sensitive, Aussie-accented hunk who seems to have captured Judith’s attention.
As the unhappy couple take part in therapy sessions, any healing they may have hoped for does not seem to be in the cards. Steve is angry, but mostly unable (or unwilling) to articulate why. Judith is similarly disconnected and feels set adrift after the recent loss of her mother. There’s also clearly some guilt on her part over the fact that she doesn’t really know enough about her parents’ history or feel enough of a connection to her Japanese heritage. When Pat asks her about her father and mother’s experiences in the internment camps, she replies that they just never really talked about it. And all the while, the ghost of Judith’s mother hangs figuratively (or maybe literally?) over the proceedings.
While a bit of a slow burn at times, the film paints a compelling portrait of dysfunctional family drama with Ally Maki and Nyha Breitkreuz in particular putting on memorable performances as Judith and her daughter Stephanie, respectively.
