“Memory” feels like the “Silver Linings Playbook” of Michel Franco’s career: an unexpectedly accessible romance between two damaged human beings, from an independent director who’s been known to pu…
’s career: an unexpectedly accessible romance between two damaged human beings, from an independent director who’s been known to put characters through some of life’s most punishing indignities. The previous film of Franco’s that it most resembles is “Chronic,” though the tough-love auteur spares us the bummer ending this time around. In that movie, he followed a hospice nurse through his rounds, then abruptly cut to black when the guy was sideswiped by a car. Womp-womp.
It may sound like a theoretical conceit to bring such characters into each other’s lives. Sylvia and Saul’s complementary memory conditions suggest Aristophanes’ notion of soul mates: two-headed, four-limbed beings, separated by the gods, reunited at last. She’s tormented by past trauma she can’t forget, while he’s bothered by an inability to recall much of anything.
“Memory” introduces Sylvia in an Alcoholics Anonymous meeting. She’s 13 years sober, the same age as her daughter, Sara . Sylvia has fashioned her life in a way that gives her control over the things she can. Resisting the kind of clumsy exposition where people describe their backstory , Franco prefers to reveal his characters through action.
Meanwhile, Sylvia’s sister points out that the timing doesn’t line up: The girls transferred to a different school before Saul arrived, making it unlikely that he molested her. Strange that Sylvia’s memory sees it differently. What else might she be confused about?
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