Memory

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.

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.

Story of the encounter of two lonely, battered souls, searching for love, peace, acceptance and meaning in life. Told with class, cleverly avoiding cheap sentimentalism, treating viewers as intelligent breed. Scenes are woven together so that story runs smoothly, lightning is beautiful. Jessica is on top form, acting with her usual style, persuasion and expressing just what the story needs. Sarsgaard gets under your skin with ease and charm. Merrit Wever is again persuading with her detachment and minimalism, reasons revealed at the end.

Movie that touches you deep, connects and lets you leave the theatre grateful for what it gives you. Highly recommended.

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.

It's a drama of two persons with damaged memories seeking solace. The film is set in New York City in the early 2000s. Sylvia (Jessica Chastain) is a single mom who is overly protective of her 12-13-year-old daughter, Anna (Brooke Timber). Sylvia, an alcoholic who has been sober for 12 years, relates to her younger sister, Olivia (Merritt Wever), but is estranged from her mother, Samantha (Jessica Harper). The viewer soon learns of Sylvia's memories of abuse as a pre-teen.

Saul (Peter Sarsgaard) lives with his brother, Issac (Josh Charles). Saul's wife died some time ago. He has early-onset dementia that displays in unusual ways. Sylvia and Saul encounter each other at a reunion at the high school they both attended.

The film follows their improbable relationship that evolves despite a very rocky start. Their families react in different ways to what they observe in the relationship, and the ending is, in my mind, ambiguous.

Chastain is marvelous in her character. Sarsgaard is good, but the nature of his role makes for a relatively narrow personality. The role of Anna seems a tad unrealistic, but Timber plays it well. I found the film's editing to be superb. And I've always loved the Procul Harum song, "A Whiter Shade of Pale," that repeats as a theme throughout. Although the story feels improbable, I loved it.