Memoria: As intriguing as it is bewitching [critique]

Tilda Swinton plays a woman in exile in Bogota in search of lost memories and makes a masterful entry into the fascinating work of the webbed Thai filmmaker in 2010.

In the cinema, we see a lot, we listen to less. The sound is the poor relation of an image which is superior to it by nature, the cinema having been initially silent. Godard or Duras, this hierarchy has been called into question several times, forcing the viewer to prick up their ears to better understand a deliberately asynchronous world. It is a noise, a “bang” which invades the whole frame of Memoria. Jessica Holland (Tilda Swinton, magnetic), English exile in Bogotà heard it and tries to find its trace, nature. The invisible must therefore be embodied in order to exist. Jessica also asks a sound engineer to recreate this noise by computer. The memory can suddenly rise to the surface of a world capable of welcoming it. This is one of the spiritual and artistic quests of all the work of Apichatpong Weerasethakul, already webbed on the Croisette (Uncle Boonmee, the one who remembers his past lives…), where he won this year a Jury Prize for this present Memoria. With him, lethargy, numbness of the senses, allow the doors of the unconscious to open and come to us. Memoria is in this a deeply organic film, vibrant from everywhere. Each element here becomes a living matter whose mysterious soul jumps in the face. Each film of the Thai sends a spell to the spectator. Faced with so much grace, the image and the sounds interpenetrate to speak with the same voice. Memoria was undoubtedly the most intriguing film of the last Cannes Film Festival.

From Apichatpong Weerasethakul. With: Tilda Swinton, Elkin Diaz, Jeanne Balibar… Duration 2h16. Release November 17, 2021

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