movie, Memory
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movie, Memory
“Memory,” writer-director Michel Franco’s slippery dementia drama, is the kind of film that, initially, is so familiar and heavy-handed that your immediate impulse is to reject it. After all, it begins by capturing participants at an Alcoholics Anonymous meeting, photographed in oblique close-ups, each prolonging their memories with the phrase “I remember.” Before long, Franco’s gaze settles on Sylvia (Jessica Chastain), who is attending with her daughter Anna (Brooke Timber). Sylvia has been sober for twelve years, basically since her daughter was born. By virtue of being in this vulnerable space together, you get a sense of their closeness. But there’s more Sylvia hasn’t told Anna, such as why and how she became an alcoholic, that informs Franco’s interest in the ways trauma and disease can impact our sense of self.
Franco’s film unfurls with measured curiosity, beginning when Saul (Peter Sarsgaard) literally enters the picture. Sylvia is sitting alone at a table during her high school reunion. A crowd in the background listens to a rousing speech; framed between the streamers, just out of focus, is Saul. His blurry visage, akin to a fuzzy recollection, stares at Sylvia. He walks over, sits down, and smiles. Sylvia storms out without a word spoken between them. Saul literally follows her home and stands outside her window like a jilted ex-lover. Though it begins to pour, he stays—sleeping in the hole of a tire with a black garbage bag as his blanket. There is very little dialogue spoken during this sequence, leaving the audience to feel along the walls of the dark narrative box that Franco has constructed.
--- omitted below ---
https://www.rogerebert.com/reviews/memory-film-review-2023
https://www.youtube.com/watch?v=KeLbykMmLho
“Memory,” writer-director Michel Franco’s slippery dementia drama, is the kind of film that, initially, is so familiar and heavy-handed that your immediate impulse is to reject it. After all, it begins by capturing participants at an Alcoholics Anonymous meeting, photographed in oblique close-ups, each prolonging their memories with the phrase “I remember.” Before long, Franco’s gaze settles on Sylvia (Jessica Chastain), who is attending with her daughter Anna (Brooke Timber). Sylvia has been sober for twelve years, basically since her daughter was born. By virtue of being in this vulnerable space together, you get a sense of their closeness. But there’s more Sylvia hasn’t told Anna, such as why and how she became an alcoholic, that informs Franco’s interest in the ways trauma and disease can impact our sense of self.
Franco’s film unfurls with measured curiosity, beginning when Saul (Peter Sarsgaard) literally enters the picture. Sylvia is sitting alone at a table during her high school reunion. A crowd in the background listens to a rousing speech; framed between the streamers, just out of focus, is Saul. His blurry visage, akin to a fuzzy recollection, stares at Sylvia. He walks over, sits down, and smiles. Sylvia storms out without a word spoken between them. Saul literally follows her home and stands outside her window like a jilted ex-lover. Though it begins to pour, he stays—sleeping in the hole of a tire with a black garbage bag as his blanket. There is very little dialogue spoken during this sequence, leaving the audience to feel along the walls of the dark narrative box that Franco has constructed.
--- omitted below ---
https://www.rogerebert.com/reviews/memory-film-review-2023
https://www.youtube.com/watch?v=KeLbykMmLho
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