January 4, 2024
FILM: MEMORY
DIRECTED BY: MICHEL FRANCO
STARRING: JESSICA CHASTAIN, PETER SARSGAARD, BROOKE TIMBER
RATING: 3 out of 4 stars
By Dan Pal
At the start of Memory, the new film from writer/director Michel Franco, Jessica Chastain as Sylvia sits in an AA meeting and the camera rests extremely close to her face. There’s not a lot of breathing room and there is a sense that she is trapped inside this frame; trapped inside the world of her alcoholism. As the story plays out we also see her lock herself into the apartment she shares with her daughter. Clearly, she’s in need of a safe space for the both of them. Life around Sylvia has been tough and oppressive. She is a person who is entrapped by the memories of all that has happened to her in the past. She then sits uncomfortably at a high school reunion with her sister, played by Merritt Weaver, who freely dances and enjoys her surroundings. Once again, Sylvia feels trapped. She’s followed home by one of the attendees, Saul, played by Peter Sarsgaard. Why he is following her is initially unknown but his presence is alarming and he clearly feeds into her own sense of insecurity.
The title of the film not only relates to the confrontation Sylvia has to experience with her own past memories but also the faultiness of memory in general. Saul is afflicted with early onset dementia and is also somewhat imprisoned in his own home. His brother (Josh Charles) fears he may be a danger to himself if allowed to freely roam outside. Eventually, Saul and Sylvia develop a connection where what did or didn’t happen in the past appear to have little importance. They are in the present dealing with life as it is in the present moment.
The overriding theme is that as much as we focus on our memories and the past, sometimes a lack of or suppressing of memory might allow us to begin afresh without the baggage associated with the past. Saul plays the Procol Harem song, “Whiter Shade of Pale,” several times as it allows him to recall his deceased wife’s love of an organ featured in the song. Yet, aside from this, compared to Sylvia, he is much more in the moment, almost zen-like in his approach to living each minute as it occurs.
The film features skilled performances from the two lead actors who demonstrate a solid understanding of where these characters have come from and where they find themselves in the present. Chastain, for many of the early scenes, appears sullen and disheveled as if the world has really played a number on her. She’s not a particularly sympathetic character for us to follow but we do eventually gain a greater sense for what she’s kept inside for forty years. Sarsgaard, who won the Best Actor award at the Venice Film Festival in 2023, provides Saul’s present state of mind via a warmth and subtlety that occasionally gets rocked by the character’s own lapses in memory.
The atmosphere surrounding the characters is pretty dreary even when they do venture outside to confront some of their demons. Franco sparsely uses any distracting camera tricks. Rather he tends to allow his frames to center on key character moments. He also uses a lot of long, single take shots that permit scenes to unfold slowly illustrating their own individual significance.
There are a few narrative plot points that are somewhat questionable though such as Sylvia’s ease at confronting Saul early in the film even though he might have a dangerous past. This seems to go against her need for security. Her own work schedule is a bit of a mystery too, working at an adult day care center while also having time to take up a second job as an individual caretaker.
Still, the film presents some interesting ideas and boasts a stellar cast that is more than up to the challenges of the script.
Memory opens theatrically this week.
FILM: MEMORY
DIRECTED BY: MICHEL FRANCO
STARRING: JESSICA CHASTAIN, PETER SARSGAARD, BROOKE TIMBER
RATING: 3 out of 4 stars
By Dan Pal
At the start of Memory, the new film from writer/director Michel Franco, Jessica Chastain as Sylvia sits in an AA meeting and the camera rests extremely close to her face. There’s not a lot of breathing room and there is a sense that she is trapped inside this frame; trapped inside the world of her alcoholism. As the story plays out we also see her lock herself into the apartment she shares with her daughter. Clearly, she’s in need of a safe space for the both of them. Life around Sylvia has been tough and oppressive. She is a person who is entrapped by the memories of all that has happened to her in the past. She then sits uncomfortably at a high school reunion with her sister, played by Merritt Weaver, who freely dances and enjoys her surroundings. Once again, Sylvia feels trapped. She’s followed home by one of the attendees, Saul, played by Peter Sarsgaard. Why he is following her is initially unknown but his presence is alarming and he clearly feeds into her own sense of insecurity.
The title of the film not only relates to the confrontation Sylvia has to experience with her own past memories but also the faultiness of memory in general. Saul is afflicted with early onset dementia and is also somewhat imprisoned in his own home. His brother (Josh Charles) fears he may be a danger to himself if allowed to freely roam outside. Eventually, Saul and Sylvia develop a connection where what did or didn’t happen in the past appear to have little importance. They are in the present dealing with life as it is in the present moment.
The overriding theme is that as much as we focus on our memories and the past, sometimes a lack of or suppressing of memory might allow us to begin afresh without the baggage associated with the past. Saul plays the Procol Harem song, “Whiter Shade of Pale,” several times as it allows him to recall his deceased wife’s love of an organ featured in the song. Yet, aside from this, compared to Sylvia, he is much more in the moment, almost zen-like in his approach to living each minute as it occurs.
The film features skilled performances from the two lead actors who demonstrate a solid understanding of where these characters have come from and where they find themselves in the present. Chastain, for many of the early scenes, appears sullen and disheveled as if the world has really played a number on her. She’s not a particularly sympathetic character for us to follow but we do eventually gain a greater sense for what she’s kept inside for forty years. Sarsgaard, who won the Best Actor award at the Venice Film Festival in 2023, provides Saul’s present state of mind via a warmth and subtlety that occasionally gets rocked by the character’s own lapses in memory.
The atmosphere surrounding the characters is pretty dreary even when they do venture outside to confront some of their demons. Franco sparsely uses any distracting camera tricks. Rather he tends to allow his frames to center on key character moments. He also uses a lot of long, single take shots that permit scenes to unfold slowly illustrating their own individual significance.
There are a few narrative plot points that are somewhat questionable though such as Sylvia’s ease at confronting Saul early in the film even though he might have a dangerous past. This seems to go against her need for security. Her own work schedule is a bit of a mystery too, working at an adult day care center while also having time to take up a second job as an individual caretaker.
Still, the film presents some interesting ideas and boasts a stellar cast that is more than up to the challenges of the script.
Memory opens theatrically this week.