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Memoria

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Memoria

Apichatpong Weerasethakul meticulously crafts a sensory journey steeped in introspection and metaphysical perplexity.

Jhe idea of ​​being in harmony with the vibrations of the past, other times and other lives, becomes literal in Memoria, Apichatpong Weerasethakul’s first feature film made outside of his native Thailand. In this case, it’s Colombia – a country with its own history of violence and lush jungle biome. Like the best of the director’s work, Memoria rocks you in its rhythms, gives you the scattered outlines of an intellectual framework, then knocks you down with all the weight of an accumulated lyricism that must be pure cinema.

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The film opens with Jessica (Tilda Swinton), a Briton in South America, possibly grieving and possibly starting an orchid farm, awakened by a sound. It’s like an explosion, not unlike the backfiring bus that sends a pedestrian plummeting to the ground in the middle of a crosswalk, but not quite.

And how strange: no one else can hear the sound, though in her encounters at university where she researches bacteria and fungi, and at the hospital where she visits a friend sick, there are traces of things under the surface. Soldiers guard the road in the mountains; a chance encounter with an archaeologist reveals a treasure trove of bones still bearing wounds from 6,000 years ago; car alarms ring, agitated by an obscure stimulus.

The sound that afflicts Jessica is like a concrete orb dropped into a metal cylinder filled with seawater, as she explains to Hernan (Juan Pablo Urrego), a sound engineer who helps her digitally design a recreation of his…memory? Hallucination?

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The scene, both in its sleepy, meditative rhythm and in its attempt to orally evoke an absence, seems to be a reflection on Apichatpong’s own cinema. They do sound design, trying to evoke the noise that haunts her – and it’s certainly significant that Hernan uses a stock library of audio effects that includes sounds like a wooden bat hitting a duvet on a human torso.

Traveling out of town, Jessica meets another Hernan (Elkin Diaz), a peasant with a perfect memory and a mystical ability to connect with past vibes. Apichatpong’s deliberate rhythm, which is meditative, in the sense of consciously slowing down your thoughts in order to better seek transcendence, reaches its resonant climax in long takes of a man lying on his back, barely breathing, not even dreaming. steps (no thoughts, just vibes), and a deeply moving scene in which Diaz and Swinton shake hands, and a rush of non-diegetic sounds – nature, dialogue, memories – flow through the soundtrack and through it.

Apichatpong has publicly stated that he doesn’t care if you doze off over his films; I’ll raise my hand and say I’m pretty sure the part of that footage where I heard my own parents’ voice was not in the movie. But then again… was it?

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Reference of the Article-post – lwlies