“Memory”, Michel Franco: l’oubli, l’autre cement de l’identité

With the movie Memory, which today sorted into rooms, Michel Franco, Mexican realist After Lucia

etc. sunset, Free film in which two dead people live with traumas and memories. Tendre and passion.

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“Est-ce que ça vous arranged, d’avoir oublié? » In the embanked park, Sylvia (Jessica Chastain) discusses with Saul (Peter Sarsgaard, remuneration for this role in Coupe Volpi de la meilleure interprétation à la dernière Mostra de Venise), l’homme qui l’a suivie après une soirée et I slept in bed in chez elle, affalé contre un tas de pneus. Pourquoi at-il agi ainsi? Que lui vulait-il? Saul was not sympathetic, and Sylvia did not know what she liked. Atteint d’une neurodegérative proche de la démence, ce quinquagénaire tout doux et veuf a des regulières qui l’expose, lui et ses proches, à vivre des situations étranges, voire périlleuses. I often lose my memory, so I can collect souvenirs in the court baths at a time when it contradicts life sous le même toit that they are frère et sa niece, non sans peine.

Fragility of memory

Eclope of life, Saul goes to Sylvia with company along unexpected routes. A former alcoholic, traumatized by the sexual abuse of young people, Sylvia returns to a semblance of stability at a time when social work and simply ultra-protection – according to toutefois qu’au moindre coup de vent, le bateau pourrait à nouveau chavirer. If she cuts off all contact with Mother Samantha (Jessica Harper), she will love her and her childhood mementos will continue…and, oddly enough, de louis juer de tour. In the film’s debut, she was right when she was in Saul, like the old sexual aggressor of the high school, before she did not see the opposite: before this unpleasant party, they were not delighted. If Saul loses his souvenirs, Sylvia aurait-elletendance à en fabriquer?

Bandet announcement (in the original version in French) of Michel Franco’s film “Memory” in today’s theaters.

Connu pour ses films are rough, voire insoutenables (After Lucia Sur le Harcèlement Scolaire, in 2012; Chronicle Sur des Patients at the end of Friday 2015; New order sur la neo-fascist violence, in 2020), Mexican realist Michel Franco will take a further turn in 2022 with the sun sunsetin the story, Tim Roth embodied a man with a big secret, who can tirelessly profit from life, on the edge of the beach. Un spectateur ronchon pourra voir en Memory criticism of #MeToo, as well as the struggle with the fact of the restoration of souvenirs, the sacralization of the victim and trust in the spirit of love. When the camera opens, notice the conditions in which they meet between the two children and which allow us to do the same: “Voilà qui je suis.”

To exist in ses pleins, as in ses creux.

Qui suis-je, donc, si ma memoire me fait defaut And that at certain moments, as for Saul, seul mon corps semble pouvoir témoigner de la Permanence de mon être? An English philosopher solves the problem John Locke

Dance son Essay on understanding man (1690). Locke – sans doute le premier senseur à aborder la Question of personnel identity, du “soi” (Myself). Il soutient que celle-ci depend precisely on conscience and memory: “Aussi loin que la conscience may be delayed in an action or a previous thought, aussi loin va l’identité de la personne. » At some point I know that I like these memories, and if I don’t know plus a souvenir of my all, I can’t say that I love the person I know.

“The snack of conscience is involved in a person’s identity”

For Locke, this is something that is not a plus for my party. Conscience is like a file, a sequence of images that goes well with our beer. Ellipses have no meaning and do not affect what we know. Michel Franco is inscribed in a false version of this concept of continuing the identity of the staff. As in the movies, the “snack” is involved in the “Recit par le montage”, the “snack of conscience” is involved in determining a person’s personality. Saul n’existe pas seulement dans ses pleins, il est also lui-même dans ses creux: ses absences of font entièrement party de lui – de même que les oublis bien commodes de la mère de Sylvia Font party d’elle. If Saul and Sylvia have become close, it means that this last thought has accepted this idea that is present in another life, and also that Brother de Saul and her niece are oblivious to this idea, like Louis’s happy party. que ce don’t, eux, ont Gardé le souvenir.

The relationship between Sylvia and Saul is disconcerting because it is intermittent, uncertain and full of great tenderness. Ne soyons pas naïfs: il n’est pas impossible that Sylvia takes advantage of Saul’s fragility in order to comb ses propres, she lacks affective influences. Peut-on pour autant lui reprocher? Seuls les actses comptent et, en ce Domaine, cette travailleuse Sociale, regular of frequent addicts, prend soin de Saul as a person. I’m waiting for you in a wonderful world sunset The renaissance ethic that is paradoxical is a great emphasis on choice and on others. In my opinion, Sylvia refuses the reward for the man she did not complete for the sake of love. In this adventure, he seems to fall into a certain amount of disappointment that his family is missing out on the start of their lives. Love takes the simple form of everyday delicacies.