Memoria

How we remember our past is something we can all bank on, right? Or is it? For instance, what happens when mitigating influences impact our memory, potentially causing it to become fallible and untrustworthy? Can we truly rely on our recall then? Those are among the questions raised in the unconventional new romantic thriller from writer-director Michel Franco. The film follows the life of Sylvia, a recovering alcoholic with a troubled past (Jessica Chastain), who's unexpectedly (and alarmingly) followed home from her high school reunion by an alleged former classmate, Saul (Peter Sarsgaard), whom she believes sexually molested her at that time. She's troubled by this latest development and questions his motives about it, which even he doesn't understand, especially when it's revealed that he suffers from dementia. And, in an added twist, it turns out that Sylvia's recall about her supposed past interaction with him is foggy, something that's not entirely surprising in light of her history. This revelation changes everything, and an entirely new relationship between them emerges, particularly when it comes to each of them helping one another sort of their respective pasts and begin the healing process. This includes the exposure of an array of additional developments and the persistence of some still-unresolved ambiguities, all of which emerge through a skillfully crafted narrative, effectively brought to life with the superb performances of Sarsgaard and Independent Spirit Award nominee Chastain. Admittedly, the picture's first half could benefit from some stepped-up pacing, most notably the elimination of some sequences that are occasionally redundant and innately tiresome. However, the intrigue and engagement ramp up significantly in the picture's back end, making up for much of the tedium in the opening act. Some of this is ironically accomplished through deftly handled nuance and subtlety, qualities that the filmmaker employs far more skillfully in the second half than in the first, where these traits are virtually obscured by prevailing understatement. Clearly, this is one of those releases that requires the viewer to give it some time to develop, but the payoff for doing so is worth it in the end. If nothing else, "Memory" provides us with a fresh perspective on its central theme while showing us how "like can cure like" in a psychological therapeutic process, an approach that can yield rewards beyond measure.

What is a film? To me it's an experience that you view through your own experiences. Life's not easy. Not perfect. Many times it's hard. Things happen to you that you didn't deserve and it leaves scars in your heart and emotions.

This film is about that very thing. Damaged people. Like all of us in our own way. Damaged trying to get thru this world with less pain. This is why I love this movie. It's just a subtle, raw view into pain and trauma and the little glimpses of hope. Of peace. Of love. It's hard for a lot of people out there.

So if you want to see an artistic film about this subject with no score, no gimmicks and some of the most vulnerable acting I've seen. This is for you.

One trigger warning: if you've dealt with sexual assault on any level this may be hard to watch.

Whilst the subject matter here is quite interesting, the execution isn't especially. "Sylvia" (Jessica Chastain) is working in the social care system whilst bringing up her daughter "Anna" (Brooke Taylor). Her life, as effectively illustrated by her door locking and burglar alarm routine each day, is a structured affair with little variation. She has a strong relationship with her sister but is completely estranged from her mother. The two women attend a school reunion one night and, leaving early, she is followed home. It's a miserable night and next morning she discovers him asleep outside her door. Inspecting his wallet, she discovers his identity and calls his brother "Isaac" (Josh Charles) who explains that "Saul" (Peter Sarsgaard) has memory issues. Was he stalking her or is there more to this rather meandering scenario? Chastain does work quite well, but I found the story seemed to randomly inject way too many "incidents" along the way that seemed designed to enliven or empower the plot. Many seemed a little too disaster-scenario prone and are used to enhance purely for dramatic purposes. The culminating scenes lacked plausibility and at times the whole thing came across as little better than an A-list soap opera. Coincidence underpins just a bit too much of the film and the delivery of information about the characters to the audience is all delivered in just too sporadically a fashion. I felt sorry for just about everyone involved, but I didn't feel particularly engaged.

I really liked this one. I'm sure other's will have their ideas of what it's about but it's really about love and broken people. And really isn't everyone broken to some degree?

I found the movie tackled the subject matter and characters in a very intimate way, it's almost a meditation on how people deal with trauma and prevail and how even broken people can love.

One character can't remember the other can't stop remembering. I'm sure there is something there, I'll have to think on that more- but they find each other and it turns out they have a lot to offer each other.

Marvelous film in my opinion.

I have been keeping up with Michel Franco for awhile as I have enjoyed his works on "After Lucia, Chronic, and April's Daughter". While "New Order" and "Sundown" aren't perfect, I expect Franco to offer some interesting concepts and direction in his movies. "Memory" isn't the best movie he has done but it's still captivating with strong performances from Jessica Chastain and Peter Sarsgaard, atmosphere, and direction throughout.

The narrative explores heavy traumatic themes that are pretty interesting without feeling cheap or exploitive. Although some of the narrative choices and concepts are left to more to be desired and at moments, a bit confusing on certain decisions, the writing and Franco's direction keeps the story on feeling compelling. The camerawork and production is solid. The performances are really good as Jessica Chastain and Peter Sarsgaard gave great performances to their characters and emotions. Unfortunately, some of the child performances aren't very good and noticeably poor.

The dialogue is solid as there are some interesting conversation moments, the characters are interesting and the themes, while at times it feels a little heavy-handed, are well-explored without feeling messy or cheap. However, unlike Franco's other works, it doesn't feel as impactful as it could have been and probably Franco's more tamer works unlike his usual style. Which does at times feel a bit detached.

Overall, despite the flaws, I still found the narrative, the performances and concepts to be interesting.