At the beginning of Red Herring, Kit Vincent reads out a possible presentation to his girlfriend: “My film is about me and my dad Lawrence, as we learn to come to terms with my terminal brain tumor diagnosis.” This makes them laugh a little, because it sounds like a school exercise. Yet this first feature-length film by Vincent is far from that.

This rich and sensitive project was made with great candor and careful photography. Despite the tragedy, Vincent maintains a sense of humor—he doesn’t want to make a sad film. As well as his father Lawrence, his mother Julie and girlfriend Isobel also inevitably appear. This remarkably honest study thus develops, looking beyond the sometimes intense reactions to Vincent’s brain tumor. Are they growing closer?

It’s hard for Lawrence to think about the end, but he shows an unexpected interest in the philosophy of Judaism and has another very different surprise in store. Julie also has something important to tell her son. Childhood images broaden the perspective, and the role of film making itself comes into discussion.